Glenda Goodman is an Associate Professor of Music at the University of Pennsylvania.

• List of illustrationsNote on sourcesCast of charactersPrefaceIntroduction Chapter 1: Reproducing Music Laboring Bodies and Technologies of Reproduction What is a Manuscript Music Book? Manuscript, Print, and Gender Chapter 2: Learning Music Literacies Literacy as Piety Print Discipline Becoming Refined Rigorous Seminaries Chapter 3: Consumerism and the Materiality of Music Books Family Business Luxury Goods Global Trade and Raw Supplies Chapter 4: Economies of Accomplishments Pleasing Patriarchs and Self-Display Courtship, Marriage, and the Intimacies of Musical Exchange Absence and Remembrance Chapter 5: Appearing Tasteful Personal Improvement Cosmopolitan Aspiration, Provincial Anxiety, and the American Galant Being Seen Sensibility, Observation, and Connection EpilogueBibliography

Both Goodman's knowledge of her material and her mosaic-like theoretical framework are impeccable. She has chosen not to engage in theoretical digressions, but rather to write a clear, dispassionate, often elegant prose that would be accessible to any reader and that could therefore be used in American studies, early American history, and music classes. Goodman merits con-gratulations both for daring, as her first book, to rewrite the standard narrative of elite musical life in this countrys first two generations, and for making that narrative so thought-provoking and pleasurable to read.

Glenda Goodman is an Associate Professor of Music at the University of Pennsylvania.

• List of illustrationsNote on sourcesCast of charactersPrefaceIntroduction Chapter 1: Reproducing Music Laboring Bodies and Technologies of Reproduction What is a Manuscript Music Book? Manuscript, Print, and Gender Chapter 2: Learning Music Literacies Literacy as Piety Print Discipline Becoming Refined Rigorous Seminaries Chapter 3: Consumerism and the Materiality of Music Books Family Business Luxury Goods Global Trade and Raw Supplies Chapter 4: Economies of Accomplishments Pleasing Patriarchs and Self-Display Courtship, Marriage, and the Intimacies of Musical Exchange Absence and Remembrance Chapter 5: Appearing Tasteful Personal Improvement Cosmopolitan Aspiration, Provincial Anxiety, and the American Galant Being Seen Sensibility, Observation, and Connection EpilogueBibliography

Both Goodman's knowledge of her material and her mosaic-like theoretical framework are impeccable. She has chosen not to engage in theoretical digressions, but rather to write a clear, dispassionate, often elegant prose that would be accessible to any reader and that could therefore be used in American studies, early American history, and music classes. Goodman merits con-gratulations both for daring, as her first book, to rewrite the standard narrative of elite musical life in this countrys first two generations, and for making that narrative so thought-provoking and pleasurable to read.

Glenda Goodman is an Associate Professor of Music at the University of Pennsylvania.

• List of illustrationsNote on sourcesCast of charactersPrefaceIntroduction Chapter 1: Reproducing Music Laboring Bodies and Technologies of Reproduction What is a Manuscript Music Book? Manuscript, Print, and Gender Chapter 2: Learning Music Literacies Literacy as Piety Print Discipline Becoming Refined Rigorous Seminaries Chapter 3: Consumerism and the Materiality of Music Books Family Business Luxury Goods Global Trade and Raw Supplies Chapter 4: Economies of Accomplishments Pleasing Patriarchs and Self-Display Courtship, Marriage, and the Intimacies of Musical Exchange Absence and Remembrance Chapter 5: Appearing Tasteful Personal Improvement Cosmopolitan Aspiration, Provincial Anxiety, and the American Galant Being Seen Sensibility, Observation, and Connection EpilogueBibliography

Both Goodman's knowledge of her material and her mosaic-like theoretical framework are impeccable. She has chosen not to engage in theoretical digressions, but rather to write a clear, dispassionate, often elegant prose that would be accessible to any reader and that could therefore be used in American studies, early American history, and music classes. Goodman merits con-gratulations both for daring, as her first book, to rewrite the standard narrative of elite musical life in this countrys first two generations, and for making that narrative so thought-provoking and pleasurable to read.