Although musicology as a discipline has expanded enormously over the past few decades, many of its core interests remain much as they were a century ago, when the primary task facing scholars was to take stock of what had been written and by whom. We now possess good if not yet definitive catalogues of many composers’ oeuvres and in some cases complete or near-complete critical editions. Less systematically organized performing editions of works by non-canonical composers have also begun to appear in increasing numbers in recent years to complement the pioneering surveys in publications like Denkmäler der Tonkunst in Österreich and Musica Britannica. Systematic studies of contemporary documents relating to individual musicians and musical establishments have proved exceptionally useful, though much of the picture remains obscure. Thus, after a century of unremitting labour, we have a musical chart that is extravagantly detailed in some areas yet frustratingly blank in others. The chance survival of documents enables us, for example, to know how many coffee spoons Leopold Hofmann owned at the time of his death, yet few if any documents survive that shed light on his personal and professional life. None the less, in spite of the incompleteness of our knowledge we possess an incomparably more detailed understanding of music in the eighteenth century than seemed possible even twenty years ago.