Читать книгу Virginia Woolf and Music - Adriana L. Varga - Страница 6

I WOULD LIKE TO THANK OUR EDITORS AT INDIANA UNIVERSITY Press, especially Raina Polivka, Darja Malcolm-Clarke, and Jill R. Hughes, for the wonderful, energetic support they have given this project, and for seeing it come to fruition. In addition, I would like to thank Paula Durbin-Westby for her superior skill and expertise in compiling the volume’s index. I am also most grateful to Cornelia and Aurel Varga for their unfailing and generous support throughout the entire editing process of this work. My thankful remembrance also goes to Matei Calinescu, without whom I would not have turned my eye to Virginia Woolf in the first place.

Furthermore, I am indebted to two of the volume’s contributors in particular: I am grateful to Mihály Szegedy-Maszák for reading this volume, advising on its compilation, and, most of all, for his inspiring scholarship and lectures at Indiana University–Bloomington, in which he often spoke of modernism and the arts, of Virginia Woolf, Bloomsbury, and music. One result of these lectures, in the late 1990s, was the realization that a collection of essays on this topic was both possible and necessary. His own dissertation, “Virginia Woolf, The Novelist: An Attempt at Appreciation,” can be found today in the Special Collections of the University of Sussex Library, the Monks House Papers, where Leonard Woolf, who must have thought highly of it, placed it alongside his own and Mrs. Woolf’s personal letters, photographs, and manuscripts. I would also like to offer my special thanks to Trina Thompson, who offered her steadfast encouragement by reading and advising on parts of the manuscript at various stages of the editing process, and by discussing with me music theory and word-music issues as the volume took shape. Many thanks as well to Melody Eotvos, Trina Thompson, and Deborah Crisp for assembling the music examples used in the volume.

I must also acknowledge the support I received from several scholars with whom I discussed aspects of the volume at different times. I am thankful to Susan Gubar for her strong encouragement of the project from the very beginning and throughout the editing process; to Mark Hussey for his most helpful editorial suggestions; to Robert Hatten for his enlightening lectures on Beethoven and music theory at the Jacobs School of Music; to Katherine Linehan and Michael Davis for their extremely helpful comments on the volume’s introduction; and to Susan Sellers and Laura Marcus for their illuminating questions and comments on Woolf and music at the Woolf contemporaine / A Contemporary Woolf Colloque de la Société d’Etudes Woolfiennes, Université d’Aix-Marseille I, Aix-en-Provence, September 2010. Finally, I am most thankful to Nazareth Pantaloni, Assistant Director for Copyright and Administration at the William and Gayle Cook Music Library at the Jacobs School of Music; to the Lilly Library librarians at Indiana University, particularly to Rebecca C. Cape, who made available the publications of the Hogarth Press and other Bloomsbury manuscripts; as well as to the Special Collections librarians at the University of Sussex, who kindly helped me research the Monks House Papers, especially Leonard Woolf’s “Card Index of Gramophone Recordings” (June 2005).