John W. Landon, himself a theatre pipe organist, has written the first history of the theatre pipe organ. He traces its development from church organ to a theatrical instrument that took the place of a piano. Landon also discusses the pipe organ's later emergence as a solo instrument, its use in radio broadcasting and phonograph records, and its present uses. The book also includes a history of those companies that built theatre organs and biographical sketches of some of the leading theatre organists. The appendixes list theatre organ installations around the world.

This collection was created especially for church pianists and organists. It provides 18 medium-difficult duets that work for preludes, offertories, postludes and "special music." Includes: Adeste Fidelis * America, the Beautiful * His Eye Is on the Sparrow * I Sing the Mighty Power of God * Jesu, Joy of Man's Desiring * Joy to the World! * Morning Has Broken * O for a Thousand Tongues to Sing * Sing We Now at Christmas * Were You There?/Amazing Grace * What a Friend We Have in Jesus * When I Survey the Wondrous Cross * and more.

Shortly after it was founded in 1947, the CIA launched a secret effort to win the Cold War allegiance of the British left. Hugh Wilford traces the story of this campaign from its origins in Washington DC to its impact on Labour Party politicians, trade unionists, and Bloomsbury intellectuals

During the 1920s, a visit to the movie theater almost always included a sing-along. Patrons joined together to render old favorites and recent hits, usually accompanied by the strains of a mighty Wurlitzer organ. The organist was responsible for choosing the repertoire and presentation style that would appeal to his or her patrons, so each theater offered a unique experience. When sound technology drove both musicians and participatory culture out of the theater in the early 1930s, the practice faded and was eventually forgotten. Despite the popularity and ubiquity of community singing—it was practiced in every state, in theaters large and small—there has been scant research on the topic. This volume is the first dedicated account of community singing in the picture palace and includes nearly one hundred images, such as photographs of the movie houses’ opulent interiors, reproductions of sing-along slides, and stills from the original Screen Songs “follow the bouncing ball” cartoons. Esther M. Morgan-Ellis brings the era of movie palaces to life. She presents the origins of theater sing-alongs in the prewar community singing movement, describes the basic components of a sing-along, explores the unique presentation styles of several organists, and assesses the aftermath of sound technology, including the sing-along films and children’s matinees of the 1930s.

Wurlitzer pipe organs provided the voice of the silent screen in hundreds of movie palaces worldwide. Explore the history of the creation and building of the Mighty Wurlizer in 800 pages including 1000 images, archival documents and factory records. This book had been thought lost since the death of the author in 1992. Jeff Weiler, an organbuilding colleague of the author, has worked ten years to reconstruct the book and reassemble scattered materials working from a copy of the original typescript. The book has been published by The American Theatre Organ Society in recognition of their golden anniversary.

Thomas De Quincey (1785-1859) is considered one of the most important English prose writers of the early-19th century. This is the final part of a 21-volume set presenting De Quincey's work, also including previously unpublished material.