Acknowledgements
The editors are greatly indebted to Vicki Cooper, formerly Senior Commissioning Editor for Music and Theatre at Cambridge University Press, for her customary helpfulness and perseverance in seeing this volume cheerfully into press, and to her successor Kate Brett for overseeing the final stages of production. Along the way we have benefitted enormously from the skills of former assistant editor Fleur Jones, practical assistance from Emma Collison, Christofere Nzalankazi and Lorenza Toffolon, and the professional expertise of copy editor Matthew Bastock. We are also indebted to our project manager for the production process, Sri Hari Kumar at Integra Software Services.
This book owes its existence to the considerable efforts of Peter Franklin and Robynn Stilwell in getting the concept up and running some years ago, and we are grateful to them both for their constant support during the editorial process and for their staunch membership of our team of distinguished contributors. As the book took shape, we were also helped by valuable input from Alison Arnold, Emilio Audissino, Jan Butler, Richard Dyer, David Neumeyer and Renata Scognamiglio, and by timely technical assistance from David Ford for Table 17.1. Caryl Flinn expresses her appreciation to Mervyn Cooke, Fiona Ford, Joseph DeLeon, Herb Eagle, Adrian Martin, Katy Peplin and, especially, to Leah Weinberg, whose illuminating responses to earlier versions of Chapter 15 contributed to the final draft. In connection with Chapter 18, Danae Stefanou wishes to thank Yannis Kotsonis for invaluable feedback on her contribution and JLG for indirectly encouraging the improvisation of music, noise and silences. For essential assistance with Chapter 19, Annette Davison wishes to thank Johanna Blask (Paul Sacher Foundation), Hans Werner Henze, Elaine Kelly, John Marshall, Ulrich Mösch, Christa Pfeffer, Nicholas Reyland, Tina Kilvio Tüscher and Schott Music.
A version of Chapter 21 was presented at the Performance Seminar Network Third International Conference at the AHRC Centre for Music Performance as Creative Practice (CMPCP), University of Cambridge (July 2014), with financial support from the Music & Letters Trust and CMPCP; the English translations of Tamil quotations and poems in this chapter are by Mekala Padmanabhan, who is grateful to Ramesh Vinayakam for granting access to his score for Ramanujan and giving his permission to reproduce excerpts from it here. The musical examples in Chapters 14, 17 and 20 are aural transcriptions prepared by the authors; those in Chapter 17 have been approved by Ennio Morricone, whose archival holdings only contain material from C’era una volta il West (1968) onwards. We are grateful to Faber Music Ltd (both in their own right and on behalf of Chappell and Co. Ltd), Alfred Music (on behalf of Warner Bros.) and Hans Werner Henze and the Paul Sacher Foundation for permission to reproduce copyrighted material, as detailed in the individual captions for figures and music examples. We particularly wish to thank Brett Service (Curator of the Warner Bros. Archives at the School of Cinematic Arts, University of Southern California) for his assistance with preparing the facsimiles in Chapter 3.
Sadly, our distinguished contributor Sergio Miceli died in July 2016, while this book was in press. He had shown a tremendous interest in the project throughout its development, and a formidable attention to detail in preparing his own contribution to it, and it is an honour for us to be able to dedicate our symposium to the memory of the leading Italian film musicologist of his generation.
