¹ Lewis, Jon, American Film: A History, 2nd ed. (New York: Norton, 2019)Google Scholar.

² See especially Barzun, Jacques, From Dawn to Decadence: 1500 to the Present: 500 Years of Western Cultural Life (New York: HarperCollins, 2001)Google Scholar. For a sample of his work on nineteenth-century music, see Berlioz and the Romantic Century, 2 vols (Boston: Little, Brown and Company, 1950).

³ Hervé Lacombe, Les voies de l'opéra français au XIXe siècle (Paris: Fayard, 1997), translated as The Keys to French Opera, trans. Edward Schneider (Berkeley: University of California Press, 2001). See also Lacombe, ‘The “Machine” and the State’, in The Cambridge Companion to Grand Opera, ed. David Charlton (Cambridge: Cambridge University Press, 2003): 21–42.

⁴ Jim Samson, ed. The Cambridge History of Nineteenth-Century Music (Cambridge: Cambridge University Press, 2001).

⁵ Jim Samson, ‘Editor's Preface’, in The Cambridge History of Nineteenth-Century Music, xiii.

⁶ There are notable exceptions: Richard Taruskin, The Oxford History of Western Music, vol. 3, The Nineteenth Century (Oxford: Oxford University Press, 2005); and Walter Frisch, Music in the Nineteenth Century (New York: Norton, 2013).

⁷ Richard Taruskin makes this observation about this volume less generously, see ‘Review: Speed Bumps’, in 19^th-Century Music 29/2 (2005): 185–207.

⁸ This is – to be sure – a trend in French academic publishing. Other volumes with a similarly broad scope have used similarly thin paper. See Dominique Kalifa, Philippe Régnier, Marie-Ève Thérenty and Alain Vaillant, eds, La Civilisation du journal: Histoire culturelle et littéraire de la presse française au XIXe siècle (Paris: Nouveau Monde, 2011).

⁹ Examples of such focused dissertations include James Q. Davies, A Musical Souvenir: London in 1829 (PhD diss., University of Cambridge, 2005) and Delphine Mordey, Music in Paris, 1870–1871 (PhD diss., University of Cambridge, 2007).

¹⁰ Collingwood, Robin George, The Principles of Art (Oxford: Clarendon Press, 1938)Google Scholar.

¹¹ Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste, trans. Richard Nice (Cambridge, MA: Harvard University Press, 1987); Priscilla Parkhurst Ferguson, Accounting for Taste: The Triumph of French Cuisine (Chicago: University of Chicago Press, 2004); and Antoine Hennion, The Passion for Music: A Sociology of Mediation, trans. Margaret Rigaud and Peter Collier (London: Routledge, 2015).

¹² Walter Benjamin, ‘The Paris of the Second Empire in Baudelaire’, in Selected Writings, vol. 4, 1938–1940, trans. Harry Zohn, ed. Howard Eiland and Michael W. Jennings (Cambridge, MA: The Belknap Press of Harvard University Press, 2003): 3–92; Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughin (Cambridge, MA: The Belknap Press of Harvard University Press, 1999); and David Harvey, Paris, Capital of Modernity (New York: Routledge, 2003).

¹³ Frank Heidlberger, ‘Traces of the Past, or Visions of a Bright Future? Antoine Reicha's Music Theory and Hector Berlioz's Compositional Practice’, in Antoine Reicha, compositeur et théoricien: Actes du colloque international tenu à Paris du 18 au 20 avril 2013, ed. Herbert Schneider, Jean-Pierre Bartoli and Louise Bernard de Raymond (Hildesheim: Georg Olms Verlag, 2015): 185–98, Fabio Morabito and Louise Bernard de Raymond, ‘The Composer as Process’, in Antoine Reicha and the Making of the Nineteenth-Century Composer, ed. Fabio Morabito and Louise Bernard de Raymond (Bologna: Ut Orpheus Edizioni, 2021): vii–xxix; and Masci, Michael, ‘Theory as Practica: The Theoretical Study of Tonality and the Practical Study of Harmony in French Harmonie Pratique’, Theoria: Historical Aspects of Music Theory 20 (2013): 5–38Google Scholar.

¹⁴ For an overview, see Mathew, Nicholas and Smart, Mary Ann, ‘Elephants in the Music Room: The Future of Quirk Historicism’, Representations 132/1 (2015): 67–78CrossRefGoogle Scholar. For examples of scholarship that explores this intersection of historical and interpretive details, see Heather Hadlock, Mad Loves: Women and Music in Offenbach's Les Contes d'Hoffmann (Princeton: Princeton University Press, 2000); Benjamin Walton, Rossini in Restoration Paris: The Sound of Modern Life (Cambridge: Cambridge University Press, 2007); and Gabriela Cruz, Grand Illusion: Phantasmagoria in Nineteenth-Century Opera (Oxford: Oxford University Press, 2020).

¹⁵ Susan Rutherford, The Prima Donna and Opera, 1815–1930 (Cambridge: Cambridge University Press, 2009); Kimberly White, Female Singers on the French Stage, 1830–1848 (Cambridge: Cambridge University Press, 2018); Sean Parr, Vocal Virtuosity: The Origins of the Coloratura Soprano in Nineteenth-Century Opera (Oxford: Oxford University Press, 2021).

¹⁶ Derrida, Jacques, ‘Archive Fever: A Freudian Impression’, trans. Eric Prenowitz, Diacritics 25/2, (1995): 9–63CrossRefGoogle Scholar; Craig Robertson, ed., Media History and the Archive (New York: Routledge, 2015); and Francis Blouin and William Rosenberg, Processing the Past: Contesting Authority in History and the Archives (Oxford: Oxford University Press, 2011).

¹⁷ Craig Robertson, “Mechanisms of Exclusion: Historicizing the Archive and the Passport”, in Archive Stories: Facts, Fictions, and the Writing of History (Durham: Duke University Press, 2005): 71.

¹⁸ Recent research that has worked around such challenges creatively includes Blaszkiewicz, Jacek, ‘Listening to the Old City: Street Cries and Urbanization in Paris, ca. 1860’, Journal of Musicology 37/2 (2020): 123–57CrossRefGoogle Scholar; Claire Rowden, Opera and Parody in Paris, 1860–1900 (Turnhout: Brepols, 2020); and Tommaso Sabbatini, ‘Music, the Market, and the Marvelous: Parisian Féerie and the Emergence of Mass Culture, 1864–1900’ (PhD diss, University of Chicago, 2020).

¹⁹ See ‘Gallica’, https://gallica.bnf.fr/ (accessed 6 February 2022).

²⁰ For an overview of Jann Pasler's project, see ‘The Sound of Empire in 20th-c. Colonial Cultures: Rethinking History through Music’, https://cordis.europa.eu/project/id/834195 (accessed 1 December 2021). See also ‘Carmen Abroad’, https://carmenabroad.org/ (accessed 1 December 2021).