¹ Rebecca Lentjes, “Meaning in the Parentheticals: An Interview with Caroline Shaw,” Van Magazine, July 1, 2021.

² Whittall, Arnold, “Composer-Performer Collaborations in the Long Twentieth Century,” in Distributed Creativity: Collaboration and Improvisation in Contemporary Music, eds. Clarke, Eric F. and Doffman, Mark (New York: Oxford University Press, 2017), 24Google Scholar.

³ “Caroline Shaw and Sō Percussion's ‘Let the Soil Play Its Simple Part,’ Out Now on Nonesuch,” Nonesuch (accessed May 26, 2022), https://www.nonesuch.com/journal/caroline-shaw-so-percussion-let-soil-play-its-simple-part-out-now-nonesuch-2021-06-25.

⁴ For more on the sacred harp and shape note singing, see Miller, Kiri, Traveling Home: Sacred Harp Singing and American Pluralism (Champaign: University of Illinois Press, 2010)Google Scholar.

⁵ “Shaw: Let the Soil Play its Simple Part,” Liner Notes for Let the Soil Play its Simple Part, by Caroline Shaw, Sō Percussion, and Jonathan Low (Nonesuch, 2021).

⁶ Elena Saavedra Buckley, “Caroline Shaw is Not Here to Save Classical Music,” NPR, July 6, 2021.

⁷ The American Composers Forum renamed one of its annual call for scores programs “Minnesota Music Creator Awards,” referring to applicants and winners as music creators rather than composers in order to reflect their genre- and practice-agnostic preferences. The program was formerly titled “Minnesota Emerging Composer Awards.” See “Minnesota Music Creator Awards,” American Composers Forum (accessed May 26, 2022) https://composersforum.org/programs/minnesotamusiccreatorawards/.