¹ Andrea Cawalti explores the challenges in creating and maintaining the Sheet Music Consortium in Cawelti, , ‘Sheet Music Round-up’, Nineteenth Century Music Review 18, no. 1 (2021): 129–44CrossRefGoogle Scholar.

² For a more detailed argument on the importance of these volumes to the research process, see my Charleston Belles Abroad: The Music Collections of Harriet Lowndes, Henrietta Aiken, and Louisa Rebecca McCord (Columbia, SC: University of South Carolina Press, 2018), 23–33Google Scholar. My website on binder's volumes includes images, biographical information, and blogs about the importance of these materials (http://clbaileymusicologist.com/BV/).

³ In fact, binder's volumes have become a more common topic of interest in recent research, as evinced by Brian Anderson (United States), Fernanda Vera (Chile), Jean Gleeson (New Zealand), Petra Meyer Frazier (United States), Katrina Faulds (United Kingdom), and others.

⁴ Slobin, Mark, Kimball, James W., Preston, Katherine K., and Root, Deane L., eds. Emily's Songbook: Music in 1850s Albany, Recent Researches in the Oral Traditions of Music 9 (Middleton, WI: A-R Editions, 2011)Google Scholar.

⁵ I am not distinguishing between sites that are born digital and those that are analogue but can be accessed online.

⁶ Most of these sites acknowledge the support of institutions and therefore are not completely independent from them. I distinguish them here because researchers typically use them differently.

⁷ In his review of this site, Chris Goertzen acknowledges the timeliness of such sites (this being one of the earliest online) and some of the difficulties content creators encounter. See Goertzen, , ‘American Vernacular Music Manuscripts, ca. 1730–1910: Digital Collections from the American Antiquarian Society and the Center for Popular Music’, Nineteenth Century Music Review 17, no. 1 (April 2020): 173–8CrossRefGoogle Scholar.

⁸ The LOC search engine is at www.loc.gov. Unfortunately, not every binder's volume in the LOC has this call number, and those that were previously catalogued within a larger collection have not been redone.

⁹ In this vein, many institutions went so far as to take the volumes apart and put individual prints into folders, searchable only by composer and title. In this practice, the use of the volume was completely lost.

¹⁰ See Karen Stafford, ‘Binders’ Volumes and the Culture of Music Collectorship in the United States, 1830–1870’ (PhD diss., Indiana University, 2020); and Brian Anderson, ‘A Quantitative Approach to the History of Music Binder's Volumes (1820–1900) – UNT Digital Library’ (PhD diss., University of North Texas, 2022). Both of these include the Library of Congress materials in their calculations. The staff at the LOC may be able to provide physical records of contents for many of their binder's volumes.

¹¹ My work on the Flint collection is forthcoming.

¹² On MARC records, see MARC 21 Format for Bibliographic Data: www.loc.gov/marc/bibliographic/.

¹³ Men are associated with a few of these volumes.

¹⁴ Phillips, Mrs. J. M. [Binder's Collection: Mrs. Phillips], score, 1790/1830; London; Dublin, https://digital.library.unt.edu/ark:/67531/metadc1706054/, accessed 25 June 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT Music Library. The difference in handwriting suggests that Miss L. Henley collected the music, but it was bound during the lifetime of Mrs. Phillips. Henley may have become Phillips upon her marriage, and she may have an ancestor of Mrs. J. M. Phillips of Priory St., who inherited the family's binder's volume (a common practice).

¹⁵ Websites such as ancestry.com provide the initial data about a family, whose names can then be searched for papers in archives, mentions in newspapers, and other research resources.

¹⁶ Our esteemed Advisory Board has played a crucial role in guiding the project, and these members will be named on the site when it is unveiled.