Figure 1 Course brochure for Copland's “Masterworks of Modern Music” lecture series, New School for Social Research, 1928–29, front cover. Aaron Copland Collection, Music Division, Library of Congress, Washington, DC. More

Figure 2 Course brochure for Copland's “Masterworks of Modern Music” lecture series, New School for Social Research, 1928–29, back cover. Aaron Copland Collection, Music Division, Library of Congress, Washington, DC. More

Example 1 Nat “King” Cole, “Unforgettable” (arr. Nelson Riddle), mm. 36–40 More

Example 1 Nat “King” Cole, “Unforgettable” (arr. Nelson Riddle), mm. 36–40 More

Figure 1 Screenshot from Sekuru's Stories, showing the home page, accessed March 17, 2020, https://sekuru.org/home/ More

Figure 2 Screenshot from Sekuru's Stories, showing the beginning of “Praying for Rain” (a subsection of the “Independence” section), accessed March 17, 2020, https://sekuru.org/praying-for-rain/ More

Figure 1 Screenshot from the NBN, showing the first page of the New Books in Music channel, accessed April 29, 2020, https://newbooksnetwork.com/category/music/ More

Figure 2a Screenshot from the NBN, showing the page for Carla Nappi's interview with Alexandra Hui about her book The Psychophysical Ear , accessed April 29, 2020, https://newbooksnetwork.com/alexandra-hui-the-psychophysical-ear-musical-experiments-experimental-sounds-1840-1910-mit-press-2013-3/... More

Figure 2b Screenshot from the NBN, showing the page for Kristen Turner's interview with Katherine Preston about her book Opera for the People , accessed April 29, 2020, https://newbooksnetwork.com/katherine-k-preston-opera-for-the-people-english-language-opera-and-women-managers-in-late-19th-cen... More

Figure 2c Screenshot from the NBN, showing the page for Kristen Turner's interview with Jennifer Ronyak about her book Intimacy, Performance, and the Lied in the Early Nineteenth Century , accessed April 29, 2020, https://newbooksnetwork.com/jennifer-ronyak-intimacy-performance-and-the-lied-in-t... More

Figure 1 Louisa Wells's collection. Library of Congress, M1.A633 1769 Case. Photograph by the author. More

Figure 2 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, title page More

Figure 3 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, 1–4 (annotated) More

Figure 3 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, 1–4 (annotated) More

Figure 3 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, 1–4 (annotated) More

Figure 3 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, 1–4 (annotated) More

Figure 4 John Alcock, “Come Haste to the Wedding” (London: Longman and Lukey, [1769?]), copy bound within Louisa Wells's collection, 5 More

Figure 5 The Comic Tunes in the Pantomime of “The Elopement” (London: John Johnston, [1768?]), title page. British Library, Music Collections g.79.c.(1.). © British Library Board. Used by permission. More

Figure 6 The Comic Tunes in the Pantomime of “The Elopement” (London: John Johnston, [1768?]), 19. British Library, Music Collections g.79.c.(1.). © British Library Board. Used by permission. More

Figure 7 “Rural Felicity,” in Thompson's Compleat Collection of 200 Favourite Country Dances (London: Charles and Samuel Thompson, [1775]) More