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I am happy to strive to add an appoggiatura – if my comments might be considered a minor bridge towards a deferred conclusion – to the very stimulating set of articles by Michelle Duncan, David Levin and Fred Moten that appear in this issue. It struck me that these three articles can be read as imbroglio in that they offer contest, or dissonant engagement, more than seamless convergence. Indeed, by underscoring the complexities that haunt our habits of reception in ‘artistic’ practice, these essays further the passion and urgency in listening closely to less audible aspects in any cultural production including opera.
