¹ See also Helgert, Lars, ‘Herrman S. Saroni: Paths to Success as a Composer in New York’, American Music 40/2 (2022): 141–79CrossRefGoogle Scholar.

² See, for example, Root, Deane, ‘Performing Foster’, Music, American Made: Essays in Honor of John Graziano (Sterling Heights: Harmonie Park Press, 2011)Google Scholar, 285 and 1870 Board of Music Trade, Complete Catalogue of Sheet Music and Musical Works, ed. Dena Epstein (New York: Da Capo Press, 1973).

³ The collection of Emma Battell from Vermont, for example, includes an article by Saroni on musical conventions and her notes on the article. Swift – Stewart – Battell Music Collection, Henry Sheldon Museum of Vermont History, Middlebury, Vermont.

⁴ Urrows, David, ‘Herrman S. Saroni (ca. 1824–1901) and the “First” American Operetta’, Society for American Music Bulletin, 34/1 (2008): 9–11Google Scholar.

⁵ See Platt, Heather, Lieder in America: On Stages and in Parlors (Urbana: University of Illinois Press, 2023), 26Google Scholar.

⁶ Maeve Nagel-Frazel, Becoming Camilla Urso: A Female Celebrity Violinist and the Transformation of American Musical Culture, Undergraduate thesise, University of Denver, https://digitalcommons.du.edu/undergraduate_theses/12/.

⁷ Earlier Recent Researches volumes have looked at plenty of other composers well known in their own time but lesser known now, including Rayner Taylor (vol. 43), George Root (vols. 9–10), and Clara Kathleen Rogers (vol. 42), alongside those more immediately recognizable, such as George Chadwick (vols. 28. 55, 58. 60) and Amy Beach (vols. 32, 57, 84).