Notes

1. Further information is available at www.sudnow.com.

2. See: www.pscw.uva.nl/emca.
3. Especially my Normal Crimes: Sociological Features of the Penal
Code in a Public Defender Office, Social Problems 12, no. 3 (1965);
Passing On: The Social Organization of Dying (Englewood Cliffs, NJ:
Prentice-Hall, 1967); and my edited collection, Studies in Social
Interaction (New York: Free Press, 1972).
4. I offered some entirely programmatic remarks about language and
music in Talks Body: A Meditation between Two Keyboards (New
York: Knopf, 1979).
5. See Maurice Merleau-Ponty, The Structure of Behavior (Boston:
Beacon Press, 1963), and its sequel, Phenomenology of Perception
(New York: Humanities Press, 1962), originally published in French
in 1942 and 1945, respectively. I began to document my piano skills
when I encountered problems in thinking about sound, the prime concern of my second chapter. And it was at just about this time that I
also came upon the writings of Merleau-Ponty. His Phenomenology of
Perception, in particular, soon became a singular source of intellectual
inspiration. Sitting at the piano, trying to make sense of what was
happening, and studying Merleau-Pontys discussions of embodiment,
I found myself, in his own terms, not so much encountering a new
philosophy as recognizing what [one] had been waiting for. A copy
of his Phenomenology always remains close at hand.
6. My preoccupation with a production account and the practitioners perspective derives from my most fortunate personal association with three leading figures in twentieth-century sociologyErving
Goffman, Harvey Sacks, and Harold Garfinkel.