As the largest and most comprehensive Chinese database in the world, China National Knowledge Infrastructure (CNKI: Zhong guo zhi shi ji chu she shi gong cheng 中国知识基础设施工程, also commonly known as Zhi wang 知网)1 is supervised by Tsinghua University and Tonfang Knowledge Network (TKN), a high-tech enterprise funded by Tsinghua University in 1997. It is supported by the Chinese Ministry of Education, the Publicity Department of the Communist Party of China, the Ministry of Science and Technology, the State Administration of the Press, Publication, Radio, Film and Television of the People's Republic of China and the State Planning Commission of the PRC. In December 1996, CNKI began providing CD-ROM and CAJ-CD for Chinese academic journals, and it was officially launched in 1999. This repository initially focused on Chinese academic journals and later expanded its coverage to PhD dissertations, masters’ theses, conference proceedings, yearbooks, books and patent documents. It is divided into three categories: ‘databases’, ‘specialized sources’, and ‘international sources’, including ProQuest and Taylor and Francis journal databases. Ten service centres are established across the world, including Beijing, North America, Japan, Korea, Taiwan and Hong Kong; users include universities, research institutions, government think tanks, industries, hospitals and public libraries.2 CNKI (or CIKRD) updates its information on a daily basis, and its current growth rate is approximately 350,000 new journal articles per month.

Musical sources from the nineteenth century in Argentina are very scarce. The first challenge, therefore, is to locate these materials across multiple repositories. In the last 15 years, certain state policies have been introduced to unify access to information in digital and non-digital archives. However, the country's economic instability, successive changes of government and the discontinuity of public policies in reference to cultural and educational programmes continue to impede a consistent systematization of collections and catalogues of these repositories. Additionally, it is also necessary to consult other repositories – both public collections, managed by provinces rather than the national government, and private ones that may offer online resources such as catalogues, transcriptions or digitized materials. Much of the musical production in the first half of the nineteenth century occurred within religious contexts, which means that a large part of these sources is located in ecclesiastical repositories that are very difficult to access. Many lack websites, the extent of their holdings remains unknown, and in cases where catalogues do exist, they are often not digitized.