From medieval chorales to light operetta to the electronically generated "musique concrete", this is an ambitious and unique attempt to document all sectors and genres of the European music industry. Encompassing music publishers, orchestras, concert management, promotion agencies, and more, it is indexed by institution, firm, and individual for quick and flexible access.

This is the new edition of a two-volume directory that documents the entire European music industry. Entries include contact information, as well as descriptions of the organizations and the types of music involved, when available and/or applicable. The first volume discusses orchestras (from symphonies to chamber orchestras and brass bands), choirs, European music theaters, competitions and prizes, concert management and promotion agencies, radio and television, information on associations and foundations, teaching and instruction, and music libraries and archives, museums, and research and university institutes. The second volume covers all areas of the music industry and trade, i.e. instrument making, music and computers, music trade and sales, trade fairs for music, antiquarians and auction houses, sound studios and record companies, music publishers, and sound, lighting and scenery. It also contains the indexes of institutions and firms, persons, and instruments. Distributed by Gale. Annotation copyrighted by Book News, Inc., Portland, OR

With over 35,000 addresses, the International Music Directory provides over 35,000 addresses and short profiles on representatives of all areas of the music industry and is the most comprehensive reference work for the music business worldwide.

There is a queue, the phone is ringing, the photocopier has jammed and your enquirer is waiting for a response. You are stressed and you can feel the panic rising. Where do you go to find the information you need to answer the question promptly and accurately? Answering queries from users is one of the most important services undertaken by library and information staff. Yet it is also one of the most difficult, least understood subjects. There are still very few materials available to help frontline staff - often paraprofessional - develop their reader enquiry skills. This award-winning sourcebook is an essential guide to where to look to find the answers quickly. It is designed as a first point of reference for library and information practitioners, to be depended upon if they are unfamiliar with the subject of an enquiry - or wish to find out more. It is arranged in an easily searchable, fully cross-referenced A-Z list of around 150 of the subject areas most frequently handled at enquiry desks. Each subject entry lists the most important information sources and where to locate them, including printed and electronic sources, relevant websites and useful contacts for referral purposes. The authors use their extensive experience in reference work to offer useful tips, warn of potential pitfalls, and spotlight typical queries and how to tackle them. This new edition has been brought right up-to-date with all sources checked for currency and many new ones added. The searchability is enhanced by a comprehensive index to make those essential sources even easier to find - saving you valuable minutes! Readership: Offering quick and easy pointers to a multitude of information sources, this is an invaluable reference deskbook for all library and information staff in need of a speedy answer, in reference libraries, subject departments and other information units.

An inventory of information products and services available on the European Information Services Market. Points out the differences/advantages of the online database compared to the printed version which is in front of you.

Classical composers seeking to create an American sound enjoyed unprecedented success during the 1930s and 1940s. Aaron Copland, Roy Harris, Howard Hanson and others brought national and international attention to American composers for the first time in history. In the years after World War II, however, something changed. The prestige of musical Americanism waned rapidly as anti-Communists made accusations against leading Americanist composers. Meanwhile a method of harmonic organization that some considered more Cold War-appropriate--serialism--began to rise in status. For many composers and historians, the Cold War had effectively "killed off" musical Americanism. In The Sound of a Superpower: Musical Americanism and the Cold War, Emily Abrams Ansari offers a fuller, more nuanced picture of the effect of the Cold War on Americanist composers. The ideological conflict brought both challenges and opportunities. Some Americanist composers struggled greatly in this new artistic and political environment. Those with leftist politics sensed a growing gap between the United States that their music imagined and the aggressive global superpower that their nation seemed to be becoming. But these same composers would find unique opportunities to ensure the survival of musical Americanism thanks to the federal government, which wanted to use American music as a Cold War propaganda tool. By serving as advisors to cultural diplomacy programs and touring as artistic ambassadors, the Americanists could bring their now government-backed music to new global audiences. Some with more right-wing politics, meanwhile, would actually flourish in the new ideological environment, by aligning their music with Cold War conceptions of American identity. The Americanists' efforts to safeguard the reputation of their style would have significant consequences. Ultimately, Ansari shows, they effected a rebranding of musical Americanism, with consequences that remain with us today.