" ... The only source dedicated to music from 1900 to 1965. Plus its extensive coverage of 78s puts you in line for vintage-vinyl collecting success. Inside you'll find: 30,000 individual recordings; 9,000 price changes; 7,500 recording artists with 900 first-time listings!; 1,600 label photos including 200 additions ... ; 78s, 45s, EPs and LPs; four major categories (jazz, big band; country Western; blues; R & B, rock 'n' roll); all-inclusive artist index ..."--Back cover.

Founded in 1935, The American Record Guide is America's oldest classical music review magazine. In 1987, when Donald Vroon assumed its editorship, he took on the Herculean task of writing editorials on a vast array of subjects, amassing a wealth of commentary and criticism on not only the foibles and failings, but glimmers of light in American culture. A staunch defender of the highbrow pleasures of good music composed, played, and heard with intelligence, Vroon takes no prisoners in assessing the challenges and failures and possible successes that confront America’s future as a nation of music listeners. In Classical Music in a Changing Culture: Essays from The American Record Guide, Vroon delves into a variety of topics: orchestra finances, contemporary music, classical music marketing, attracting young crowds, musical aesthetics, the future of classical music, the sale and distribution of music in the modern era; the decline of American culture and its causes; the role of misguided ideologies that affect American music, from political correctness to multiculturalism to period performance practice, and the true richness of our music and its subculture. As Vroon argues, since all criticism is cultural criticism, music criticism in the broadest sense—from its composition to its distribution to its reception—is a window onto broader culture issues. Classical Music in a Changing Culture should appeal to anyone serious about classical music and worried about its increasing marginalization in our contemporary culture. These essays are not written for specialists but for thinking readers who love music and care about its place in our lives.

This easy-to-use dating guide for 93,000 individual 45 and 78 rpm records released by almost 2,500 United States record companies enables the reader to date the specific month a record was released. Record companies are listed in alphabetical order; subsidiary and related companies are also arranged alphabetically following the parent company with cross-references from the name of the subsidiary. Under headings for each label, columns of record release numbers and release dates indicate the month and year a record was formally available to the public, based upon when notification was published in the trade journals, periodicals, and related sources. This book presents information for numerous companies for which no comparable listings previously existed. In addition to aiding record dating, the guide sheds new light on the history of specific recording companies and provides additional information for the history of the recording industry as a whole.

Record Cultures tells the story of how early U.S. commercial recording companies captured American musical culture in a key period in both music and media history. Amid dramatic technological and cultural changes of the 1920s and 1930s, small recording companies in the United States began to explore the genres that would later be known as jazz, blues, and country. Smaller record labels, many based in rural or out of the way Midwestern and Southern towns, were willing to take risks on the country’s regional vernacular music as a way to compete with more established recording labels. Recording companies’ relationship with radio grew closer as both industries were on the rise, propelled by new technologies. Radio, which had become immensely popular, began broadcasting more recorded music in place of live performances, and this created profitable symbiosis. With the advent of the talkies, the film industry completed the media trifecta. The novelty of recorded sound was replacing film accompanists, and the popularity of movie musicals solidified film’s connections with the radio and recording industries. By the early 1930s, the recording industry had gone from being part of the largely autonomous phonograph industry to being major media industry of its own, albeit deeply tied to—and, in some cases, owned by—the radio and film industries. The triangular relationships between these media industries marked the first major entertainment and media conglomerates in U.S. history. Through an interdisciplinary and intermedial approach to recording industry history, Record Cultures creates new connections between different strands of media research. It will be of interest to scholars of popular music, media studies, sound studies, American culture, and the history of film, television, and radio.

This volume honours the contributions Claudia Goldin has made to scholarship and teaching in economic history and labour economics. The chapters address some closely integrated issues: the role of human capital in the long-term development of the American economy, trends in fertility and marriage, and women's participation in economic change.

An emerging cult classic about America's cultural meltdown—and a surprising solution. A prophetic examination of Western decline, The Twilight of American Culture provides one of the most caustic and surprising portraits of American society to date. Whether examining the corruption at the heart of modern politics, the "Rambification" of popular entertainment, or the collapse of our school systems, Morris Berman suspects that there is little we can do as a society to arrest the onset of corporate Mass Mind culture. Citing writers as diverse as de Toqueville and DeLillo, he cogently argues that cultural preservation is a matter of individual conscience, and discusses how classical learning might triumph over political correctness with the rise of a "a new monastic individual"—a person who, much like the medieval monk, is willing to retreat from conventional society in order to preserve its literary and historical treasures. "Brilliantly observant, deeply thoughtful ....lucidly argued."—Christian Science Monitor

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

This is a critical assessment of Victorian cathedral music, unique in its detailed treatment of the cultural intellectual, philosophical and religious issues that shaped the composer's creative world and so influenced compositional practice. Among the issues investigated by William Gatens are the status of music in Church and society, the Victorians' views on the moral dimension of music, the aesthetic implications of Christian orthodoxy and notions of stylistic propriety. The careers and works of seven eminent composers - Thomas Attwood, T. A. Walmisley, John Goss, S. S. Wesley, F. A. G. Ouseley, John Stainer and Joseph Barnby - are discussed in some detail with emphasis on anthems and fully composed service settings. These provide specific illustrations of stylistic trends and the practical effects of theoretical principles. The study seeks to correct some of the misunderstandings and distortions that were common among earlier twentieth-century writers on the subject.

New in Paperback 2004. Considers the lives and contributions of 144 significant composers in the field. Includes a general discography, bibliography, and indexes for both titles and poets. ...writing style is clear and enjoyable, the information she supplies about the songs pertinent and helpful...extremely useful to singers, voice teachers, coaches and musicologists in planning programs and in obtaining information about American art song repertoire.--Lori N. White, Taylor University