1 John Philip Sousa, Marching Along: Recollections of Men, Women and Music, ed. Paul E. Bierley (Westerville, OH, 1994).

2 Margaret L. Brown, ‘David Blakely, Manager of Sousa's Band’, Perspectives on John Philip Sousa, ed. Jon Newsom (Washington DC, 1983), 121–34.

3 Paul E. Bierley's The Works of John Philip Sousa (Westerville, OH, 1984) contains a complete annotated list of Sousa's musical and literary works. The figure of 136 marches refers to freestanding pieces. It does not include all those that are contained in operettas and other dramatic works.

4 Phyllis Danner, Sousa at Illinois: The John Philip Sousa and Herbert L. Clarke Manuscript Collections at the University of Illinois at Urbana-Champaign: A Catalogue of the Collections (Warren, MI, 2005).

5 Blakely Papers, New York Public Library, Manuscripts Division.

6 An earlier version of the instrument is attributed to the Philadelphia manufacturer J. W. Pepper, but it is Conn's version that was distributed.

7 The business archives of the C. G. Conn Corporation are kept at the National Music Museum, University of South Dakota.

8 Neil Harris, ‘John Philip Sousa and the Culture of Reassurance’, Perspectives on John Philip Sousa, ed. Newsom, 11–41 (p. 11).

9 Thomas Brothers, Louis Armstrong's New Orleans (New York, 2006), 13.

10 Bierley, The Incredible Band of John Philip Sousa, 127.

11 Sousa, Marching Along, ed. Bierley, 187.

12 Lawrence Levine, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA, 1988), 113.

13 Lawrence Levine, Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America (Cambridge, MA, 1988), 85–168.

14 Charles Hamm, Music in the New World (New York, 1983), 294.

15 Quoted Charles Hamm, Music in the New World (New York, 1983), 296.