There are so many people who contributed to this project throughout the years.
Thanks to my mentors at Vanderbilt University, Anthère Nzabatsinda, Gregory Barz, Virginia Scott, Sean Goudie, and Nathalie Debrauwère-Miller, who encouraged me and challenged me throughout the phases of this book taking shape. Thank you to Janet Francendese and the editorial staff at Temple University Press for your guidance and support. Thanks to my friends in Keur Momar Sarr, Senegal, especially Natou Fall, Mama Gaye, N'Deye Fatou, Ousmane Mbengue, and the late Makhona Mbaye, who opened my heart and my ears to new experiences of rhythms and musics. Thanks to the Department of French and Italian and the Graduate School at Vanderbilt University for supporting my research in Senegal. Thanks to Michael and Afia Williams, the Aya Centre, Davis and Selena Dunkor, and Robert Yennah for welcoming me to Ghana and sharing the rhythms of their everydayness with me. Thanks to Armstrong Appiah and O. N. Adu-Gyamfi for their Twi language help. Thanks to the Ghana Dance Ensemble, especially Ben and Gifty, for teaching me how to dialogue with drums through dance. Thanks to Constancio Nakuma, the Department of Languages, and the College of Arts, Architecture and Humanities at Clemson University for supporting me in my research in Ghana and Martinique. Thanks to Peter Naccarato, Mike Colvin, and my colleagues at Marymount Manhattan College, who were immensely supportive in the final stages of manuscript completion. Thanks to Magda, Mike, Millie, and Cecilia for warmly welcoming me into their writing group and sharing their helpful insights and suggestions. Thanks to all of my family and friends who have supported me throughout the various stages of this endeavor—especially Mom and Dad, Lisa, Mary, John Michael, Chris G., Chris E., Lisa D., Carmen, Steph, Amy B., Wenona, Erin, Amy S., Desiree, Michelle, Sam, Jacobleu, Chris M., Caroline, William, Ophelia, Whitney, Nick, and Chihiro. Thank you to the tireless interlibrary loan staffs at Vanderbilt University, Clemson University, and Marymount Manhattan College and to the library staffs of the Bibliothèque Nationale de France, the Balme Library at the University of Ghana, and the Bibliothèque de l'Université des Antilles et de la Guyane.
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Most of all, thank you to all of the people with whom I have ever shared the experience of making music or enjoying music, whether intentional or accidental.