Acknowledgments

I have many people to dedicate this thesis to, and so many "thank-you's" and "grateful-for's" to extend.

 

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Thank you so much to Professor Jenny Johnson for being a steadfast and fearless advisor on this project and throughout my Wellesley journey.

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Thank you to my dear parents who have fostered my love for music and the arts since I was small.

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Thank you to all of my interviewees who generously gave their time and thoughts to bring this project to life. 

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Thank you to Pamela Daniels and all of the folks who make the Pamela Daniels Fellowship possible for supporting the creative and maverick spirits of Wellesley campus.

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Thank you to my collaborators - Alouette, Amelia, Emily, Isaac, and Zoe - who jumped into the daunting world of virtual music by my side. 

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Thank you to my blockmates who brought me dinner on late working nights, made me tea during stressful days, and could probably tell you more about this thesis than me by now. 

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Thank you to my partner for endlessly supporting me while bringing light and kindness to the harder days. 

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And finally, thank you to the whole of the Wellesley Music Department for inspiring me to dive headfirst into this work. 

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