The idea at the core of the themes and topics with which I have wrestled in this book has been my companion since I was a teenager -but these themes came into sharper relief after I moved from Norway to the United States, where I experienced race as an insider to some communities and as an outsider to others.This change of location and culture also afforded me a clearer view of the listening practices of the culture in which I was brought up.A term coined by Mendi Obadike, "acousmatic blackness," crystallized the many questions that arose from these observations regarding vocal and listening practice.Since I first encountered it in 2005, I've continuously meditated on and worked with acousmatic blackness as a concept and as an analytical framework.In addition to Obadike's teachings, many interlocutors along the way have helped me work through them at whichever stage I found myself in our respective encounters.Even with the fear of omitting some, I still wish to name them.First, many thanks to my editor, Ken Wissoker, for his editorial vision and for truly understanding and trusting in my work.To
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