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i am lucky to be able to thank a long roll call of people who helped make this book both doable and fun to write. If it weren’t for my accordion teachers, Walter Kuehr and Charlie Giordano in New York City and Peggy Minore Hart in Albany, New York, my involvement with the accordion would not have built up enough momentum for a book. The commitment, knowledge, and generosity of all the accordion people I have interviewed over the years inspires sincere gratitude. I am also grateful to the American Accordionists Association, the Accordion Teachers Guild, and all the “accordion people” who have made this topic so rich.
I am so grateful to my advisors at New York University, Gage Averill and Michael Beckerman, for encouraging me to go forward with this project, which was full of challenges and uncertainty from the outset. My colleagues at the Albany College of Pharmacy, especially Erika Muse, Kevin Hickey, and Kenneth Blume, gave me intellectual support and the will to continue with the project while negotiating the challenges of my early academic career. The American Philosophical Society granted me research and travel funds without which my “accordion festival tour” would have been impossible. It was a great honor, as well, to receive the Parsons Fund Award for Ethnography from the Library of Congress in 2009. As a researcher, I received red carpet treatment from the World of Accordions Museum in Superior, Wisconsin, the Library of Congress, the New York Public Library’s Research Division, and the Center for the Study of Free Reed Instruments at the CUNY Graduate Center in Manhattan. There Allan Atlas spent hours helping me sift thorough hundreds of photos and documents from the Pietro Deiro Archives, stashed in every nook and cranny of his office.
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