Apparent printer's errors have been retained, unless stated below.

Punctuation, capitalization, accents and formatting markup have been normalized.

Page 44, "beleagured" changed to "beleaguered". (or when the enemy demands by trumpet-signal the surrender of a beleaguered town;)

Page 51, "Shakspeare" changed to "Shakespeare" for continuity. (Although the chief object was to obtain specimens of the various musical instruments used by our forefathers, which are alluded to by Shakespeare and other classical authors, it appeared to me desirable, as illustrative of the history of music, to incorporate into the collection the most interesting of the extra-European contrivances of the kind, and among these principally such instruments of Asiatic nations as are the prototypes of certain ones of our own.)

Page 102, in the midi representations of Beethoven's 'Adelaide', the rhythms were adjusted in the fourth full measure due to the erratic beaming of quavers/eighth notes and the change in metre (from 4/4 to 5/4) for a single measure without notation. To bring it in line with a number of editions of this piece, the last half of the bar has been represented as triplet quavers/eighth notes instead of quavers/eighth notes.

Page 104, the midi representation of Haydn's first sketch of the earthquake in the 'Seven Last Words' is an approximation. The absence of clefs and key signatures, the use of seemingly superfluous accidentals, as well as measures with inconsistent beats made it difficult to produce an audio version that is representative of the composer's intentions.

Page 125, "Leipzic" changed to "Leipzig" for consistency. (This is but a modest essay in tone-painting compared with a certain production by Johann Kuhnau, a predecessor of Bach, who depicted entire biblical stories in a set of six sonatas for the clavichord, which were published in Leipzig in the year 1700.)

Page 153, "n" changed to "an". (For instance, respecting an opinion which he formerly held on German music, he candidly avows ('History of Music' Vol. IV., p. 606),)

Page 182, "Italianized" changed to "Italianised" for consistency. (Some English musicians who at the time of James I. visited the continent, Italianised their names, a rather unpatriotic act to which they probably would not have thought of resorting, had they not become convinced of the superiority of the continental music.)

Footnote 37, "Leipzic" changed to "Leipzig" for consistency. ('Hinterlassene Schriften von C. M. von Weber. Zweite Ausgabe, Leipzig, 1850.' Vol. II., P. 14.)