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"The Moaninest Moan of Them All: The Jazz Saxophone of Loren McMurray 1920-1922" is a comprehensive anthology that sheds light on the neglected career of saxophonist Loren McMurray. Raised in a musical family in Kansas, McMurray's discography as a featured sideman began in New York City in 1920. Despite his short life, McMurray made significant contributions to early jazz saxophone recordings, which are explored in detail in this collection. The anthology also addresses McMurray's influence on dance band and early records, challenging existing discographies and highlighting his unique style. [Extracted from the article]

The article discusses the importance of engaging with early sound recordings beyond their historical sound information, emphasizing their value as mediums for oral performance remediation. It highlights two books, one focusing on oral performance remediation and the other on the interpretation of Don Giovanni recordings. The text also explores changes in listening behaviors in the twenty-first century, pointing out challenges such as the decline in deep listening and attention span due to digital streaming. The books offer insights into historical performance practices and interpretation, encouraging readers to delve deeper into the world of sound recordings. [Extracted from the article]

"Current Bibliography" is an annotated index to research on recording history that has appeared recently in specialized journals. To be indexed here an article must be in English, be reasonably substantive, and deal with recording history--as opposed to musicology, sociology, or contemporary subjects such as collecting or record reviews. "W/D" or "discog." means that the article was accompanied by something at least remotely resembling a discography. Issues covered this time were received between February and August 2021. If you contact one of these publications or authors, please mention ARSC and "Current Bibliography.". [ABSTRACT FROM AUTHOR]

The Pathé company, although one of the key players at the dawn of the phonographic industry, is today one of the least documented. This article will explore the unconventional methods utilized by Pathé's technology, through the monumental developments of the phonographic industry, in order to understand the underlying reasons of Pathé's market strategies as they relate to other leading international players. Today, there is a significant amount of uncertainty regarding the cataloging of Pathé's products, mainly due to a distinct two-step duplication process, the code system management of each media issue, and the Pathé's own destruction of primary sources from its acoustical period. The compilation of a discography requires a significant amount of research effort and data validation. In the case of Pathé, the available data are difficult to certify, especially where the reference/bibliography provide conflicting or questionable reports. To address these problems and accurately identify and catalog each issue of Pathé's cylinders and discs, the company's peculiar code system and its internal connections are examined and described. [ABSTRACT FROM AUTHOR]

“Current Bibliography” is an annotated index to research on recording history that has appeared recently in specialized journals. To be indexed here an article must be in English, be reasonably substantive, and deal with recording history--as opposed to musicology, sociology, or contemporary subjects such as collecting or record reviews. “W/D” or “discog.” means that the article was accompanied by something at least remotely resembling a discography. Issues covered this time were received between September 2020 and February 2021. If you contact one of these publications or authors, please mention ARSC and “Current Bibliography.” Comments or suggested entries may be sent to the compiler at tim@timbrooks. net. [ABSTRACT FROM AUTHOR]

This article provides extra information about Maria Kapkidi’s Ali Pasha discography. In it both the structure of the discography and the terminology used will be clarified. This is a shortened version (thanks, Paula!) of the original article which can be viewed on www.recordingpioneers.com. This discography is thematic: it contains both acoustic recordings and electric recordings on 78rpm gramophone records of songs about Ali Pasha and covers the period of 1904 to 1957. These recordings were made by a broad scala of record companies, big and small, which were active in the Ottoman Empire (Turkey) and Greece. The discography also contains recordings made in America and recordings that were originally made in Europe and later reissued in the USA. It clearly shows the various administrative practices of record companies during that period, but also shows how discographical practices of a particular company were subject to change with the passing of time. [ABSTRACT FROM AUTHOR]

The article lists the entries of discography covers all Advance Recordings releases from the inception of label in 1964 through 2018 in order by the record label number, followed by brief list of the releases in chronological order and index to all of the composers, performers, and musical works.

The article provides an account of the Central European recording labels before the Great War or World War I from perspectives of Bosnian discography. It mentions analysis of the recorded repertoire, with emphasis on recording artists and strategies of cross-marketing the recordings. Other topics include adoption of the gramophone record by European public in twentieth century and interest of the German recording industry in Balkan market.

From 1907 onwards, the Central European recording industry took an interest in marginal marketing areas such as Bosnia-Herzegovina, which was under Austro-Hungarian rule before the Great War (World War I). The Bosnian output of the International Talking Machine Company m.b.H. (ITMC) and its labels Odeon, Jumbo, and Jumbola; Lyrophonwerke G.m.b.H. (label Lyrophon); and Theodor Pichler's label A.B.C. Grand Record, has not previously been studied. In spite of the lack of detailed primary sources, this article strives to date the recording sessions. Furthermore, the study yields analyses of the recorded repertoire, with an emphasis on the recording artists, and the strategies of crossmarketing the recordings to neighbouring areas. The market life of the recordings is also analysed. The study results in a partial discography. [ABSTRACT FROM AUTHOR]

The Pittsburgh Symphony Orchestra has been making recordings since 1940. This article is an expansion of a presentation given by the authors at the 2015 ARSC Conference in Pittsburgh. Surviving radio broadcasts, published and unpublished, are discussed, as are some of the recorded excerpts heard at the conference. All of the orchestra's commercial recordings are presented in the accompanying discography (although not all of their reissues). [ABSTRACT FROM AUTHOR]

Several charts are presented on the recording activity of the American Pittsburgh Symphony Orchestra in Pennsylvania from 1940 to 1995 which include compact disc (CD) set titled "100 Years of Glory: Classic Performances," orchestral suite for the opera "Porgy and Bess," and capitol recordings.

The author provides an overview of the recordings of the late opera singer Enrico Caruso and the making of his discography. Topics discussed include the author's documenting of Caruso's recordings made in Europe, amendments to the book "The Recordings of Enrico Caruso, a History and Discography," and Caruso's Gramophone & Typewriter Co. (G&T).

In 1931 and 1932-years before his 1941 Met Opera debut - the American tenor Jan Peerce recorded 13 known sides as a vocalist with New York-area dance bands, using the names "Pinky Pearl" and "Jack Pearl," shortened versions of his real name, Jacob Pincus Perelmuth. These 78-rpm recordings were issued on Crown, Gem, and labels of the American Record Corporation, such as Banner, Melotone and Perfect. Peerce's vocals are typical of the genre of the time. Peerce had not kept these recordings from the inception of his career and was grateful to receive taped copies. A discography of these vocals is contained in the Appendix. This article is a later version of a paper, "Early Dance-Band Vocals by the Great American Tenor 'Pinky Pearl, "'presented at the 2012 ARSC conference in Rochester, N.Y. [ABSTRACT FROM AUTHOR]

With the tremendous concern historically shown by formal discographers for the products of the 78 era, some latter day labels in dire need of attention have been overlooked. Web-based, amateur discographers and collector's publications have picked up the slack on some of this research, but it tends to be of variable quality and does not necessarily answer all of the burning questions one may have about a recording of relatively recent vintage once it comes into their possession. The 20th Century Fox label is a case in point; although its run ended less than a decade before the 20-year cutoff that ARSC uses to qualify a "historical" recording, its largely undocumented history stretches back into the late 1930s. The label's first incarnation is an orphan, and the remainder is neither a 'major' nor `minor' but something in between. Author David Lewis aims to provide here a baseline study for these various products, includes for the first time in print a discography by David Diehl for the earliest 20th Century Fox label, and adds a 'reverse discography' for later releases, designed for comparison against an existing listing. [ABSTRACT FROM AUTHOR]

RCA Victor's red vinyl 78s represents a fascinating episode in the history of classical record production. This article provides a discography of the "Red Seal De Luxe" series (record numbers 18-0000 through 18-0236 and sets V/DV-1 through 30), issued from 1945 to 1949. Many of these records pose discographic questions that have never been addressed; the authors probe beyond the standard original sources to do so. [ABSTRACT FROM AUTHOR]

While writing a forthcoming book on the history of the jazz discography, the author investigated the origins of two key words, "discography" and "metadiscography." Generally thought to have been first used in 1936, "discography," a systematic list or catalog of sound recordings, actually appeared in print as early as 1930. "Metadiscography" was originally dated to 1991, when it appeared in a book review as a synonym for "general discography" or "comprehensive discography." In fact, it was first used in 1989 to describe something quite different, and its subsequent evolution is an interesting story that is not without its own significance. [ABSTRACT FROM AUTHOR]

The playback ofphonautograms recorded by Édouard-Léon Scott de Martinville in the 1850s and 1860s has stimulated new interest in his groundbreaking work in sound recording This discography lists and describes all Scott phonautograms currently known to exist. [ABSTRACT FROM AUTHOR]

For over 60 years, audiophiles have published annotated record lists called discographies, and jazz musicologists have looked to them to help trace the evolution of the genre through sound recordings. While many discographies focus on a single artist, label, or nationality, a small group of independent collector-scholars pursued the dream of an all-inclusive jazz "metadiscography." While these efforts exhibited remarkable effort and ingenuity, they became increasingly burdened with problems of accuracy, citation and commercial failure. This article hypothesizes that these issues have resulted from a complex interaction of legal, social and economic forces that continue to defy clear resolution. As is true for the jazz musician herself, these problems arise because it is difficult to define or attribute originality in the realm of the transformative or derivative creative work. While copyright law may not have caused the precipitous end of jazz ... it will not stop jazz's descent with its ill-fitting doctrines . . . copyright's inability to fully comprehend and incorporate its own sine qua non - originality - lies at the heart of all these problems. [ABSTRACT FROM AUTHOR]

A conference paper which provides the discography of Rainbow Records, from 1920-1926, is presented. This discography was based on evidences gleaned from printed catalogues, information shared by other discographers, clip files from Billy Sunday crusaders as well as data obtained from sacred recordings themselves. It also provides a brief overview of the life of gospel singer, publisher, missionary and philanthropist Homer Rodeheaver, founder of Rainbow Records.

Presents a list of articles featured in the "ARSC Journal," from 1968 to 2004. Report on the First Annual Conference of the Association for Recorded Sound Collections; Status of Historical Radio Broadcast Collection in the U.S.; Bibliography of discographies in 1973.

Presents a response to criticisms made on the book "Caruso Records: A History and Discography," by John R. Bolig. Interesting bi-product of the book's publication; Comment on the reviews of the book; Corrections to the text of the discography.

Presents an annotated discography of recording artist George W. Johnson. Career background of Johnson; Chronological listing of recording sessions; Release and deletion information.

A response by Patrick Feaster to a letter to the editor about his article "édouard-Léon Scott de Martinville: An Annotated Discography" in the 2010 issue is presented.

Presents corrections to the article "Minneapolis Symphony Orchestra/Minnesota Orchestra: A Discography of Recordings, 1924-2003,"that was previously published in a 2003 issue of the "ARSC Journal."

The sources cited within this issue are presented including "The Kiddie Rekord King," by Peter Muldavin, "Repairing an 8-Track Cartridge," and "Disco Duck."

Presents a letter to the editor about the discography of Enrico Caruso's recordings by John Bolig.

A letter to the editor and a reply are presented in response to the article "Édouard-Léon Scott de Martinville: An Annotated Discography" in the 2010 issue.

Presents a correction to the article "George W. Johnson: An Annotated Discography," that was previously published in a 2004 issue of the "ARSC Journal."

Features several web sites related to music. Web site address of Mary Katherine Aldin's index to blues magazines; Web site of electronic music performer/composer Wendy Carlos; Web sites offering discographical resources.