ACKNOWLEDGMENTS

This volume emerged over the course of several years as the fruit of sustained conversation across three continents, several symposia, and innumerable pandemic Zooms. In short, it has been an act of shared attention nourished by precisely the forms of concentration, generous collectivity, wired alertness, and creative distraction that it investigates. We extend our thanks to the Max Planck Institute for Empirical Aesthetics for providing a Frankfurt home for the Music and Attention Working Group, and to Diana Gleiss for her tireless logistical support. We are grateful to Walter Biggins and Emma Dillon at the University of Pennsylvania Press, whose enthusiasm for the project carried us through to the end. We would like to thank the Salina Public Library in Kansas for generously allowing us to reproduce an image from their collection on our cover, and Nir Cohen-Shalit, who virtuosically proofread the volume and compiled our index. Our appreciation goes also to scholars who contributed to discussions at our workshops and study sessions dating back to 2017, including Deirdre Loughridge, Nina Sun Eidsheim, Danny K. S. Walden, Michael Auer, Erin Johnson-Williams, Brian Hyer, Brian O’Connor, Zeynep Bulut, Annette Richards, Davinia Caddy, and Jonathan de Souza. Finally, and most sincerely of all, we thank our contributors. Your imagination, conviviality, and willingness to think with us about the complexity and promise of sound attentions made this work possible.