This unique reference covers every aspect of the literature of popular songs from the 16th century to 1987. Compiling 11,000 songs from the English-Speaking world, The Great Song Thesaurus, Second Edition, Updated and Expanded provides pertinent information about each entry - including year of popularity, the composer, lyricist, record sales, Hit Parade and air ranking, and the names of artists who recorded the 'Top Hit' songs since 1940 - and indexes these song titles by subject, key word, key lyric line and category. Completely cross-referenced throughout, information associated with each song is easily accessible in any of the book's ten parts.

This unique reference covers every aspect of the literature of popular songs from the 16th century to 1987. Compiling 11,000 songs from the English-Speaking world, The Great Song Thesaurus, Second Edition, Updated and Expanded provides pertinent information about each entry - including year of popularity, the composer, lyricist, record sales, Hit Parade and air ranking, and the names of artists who recorded the 'Top Hit' songs since 1940 - and indexes these song titles by subject, key word, key lyric line and category. Completely cross-referenced throughout, information associated with each song is easily accessible in any of the book's ten parts.

Music has played an important role in Ohio's cultural vitality. This work offers a comprehensive look at music as it has been practised in Ohio from the 18th century onwards, from folk to jazz to rock to the polka. It also examines the music of the Moravians, Mormons, and Welsh.

The 1940s saw a brief audacious experiment in mass entertainment: a jukebox with a screen. Patrons could insert a dime, then listen to and watch such popular entertainers as Nat "King" Cole, Gene Krupa, Cab Calloway or Les Paul. A number of companies offered these tuneful delights, but the most successful was the Mills Novelty Company and its three-minute musical shorts called Soundies. This book is a complete filmography of 1,880 Soundies: the musicians heard and seen on screen, recording and filming dates, arrangers, soloists, dancers, entertainment trade reviews and more. Additional filmographies cover more than 80 subjects produced by other companies. There are 125 photos taken on film sets, along with advertising images and production documents. More than 75 interviews narrate the firsthand experiences and recollections of Soundies directors and participants. Forty years before MTV, the Soundies were there for those who loved the popular music of the 1940s. This was truly "music for the eyes."

These days fact-checking can seem like a lost art. The Fact Checker's Bible arrives not a moment too soon: it is the first—and essential—guide to the important but increasingly neglected task of checking facts, whatever their source. We are all overwhelmed with information that claims to be factual, but even the most punctilious researcher, writer, and journalist can sometimes get it wrong, so checking facts has become a more pressing task. Now Sarah Harrison Smith, former New Yorker fact checker and currently head of checking for The New York Times Magazine explains exactly how to: *Reading for accuracy *Determine what to check *Research the facts *Assess sources: people, newspapers and magazines, books, the Internet, etc. *Check quotations *Understand the legal liabilities *Look out for and avoid the dangers of plagiarism For everyone from students to journalists to editors, the methods and practices outlined in The Fact Checker’s Bible provide both a standard and a working manual for how to get the facts right.

As more and more music literature is published each year, librarians, scholars, and bibliographers are turning to music bibliography to retain control over the flood of information. Based on the Conference of Music Bibliography, this timely book provides vital information on the most important aspects of the scholarly practice of music bibliography. Foundations in Music Bibliography provides librarians with great insight into bibliographic issues they face every day including bibliographic control of primary and secondary sources, the emergence of enumerative and analytical bibliography, bibliographic instruction, and bibliographic lacunae. Foundations in Music Bibliography features the perspectives of prominent scholars and music librarians on contemporary issues in music bibliography often encountered by music librarians. It offers practical insights and includes chapters on teaching students how to use microcomputer programs to search music bibliographies, organizing a graduate course in music bibliography, and researching film music bibliography. The book also provides a supplement to Steven D. Westcott’s A Comprehensive Bibliography of Music for Film and Television. This insightful volume demonstrates the many ways that bibliography relates music publications to each other and endows grander meaning to individual scholarly observations. Some of the fascinating topics covered by Foundations in Music Bibliography include: the history of thematic catalogs indexing Gregorian chant manuscripts general principles of bibliographic instruction analyses of Debussy discographies musical ephemera and their importance in various types of musicological research bibliographical lacunae (i.e. lack of access to visual sources, failure to control primary sources, and lack of communication with the rest of the performing arts) Foundations in Music Bibliography shows librarians how bibliography can be used to help music students and researchers find the information they need among the innumerable available sources. It is an indispensable asset to the shelves of all music reference libraries that wish to provide their patrons with the latest bibliographic tools.

Duke Ellington's son Mercer has said that his father was frustrated in only one area of musical ambition: his desire to do his own Broadway show. Though Ellington wrote many theatrical pieces, he was never able to achieve success as a composer for the stage, and today his stage shows receive little attention from music historians. Nevertheless, these works occupied a significant place in Ellington's creative imagination, and many of the ideas he employed in their composition found their way into his other work. Here is the first book to acknowledge Duke Ellington's contribution to the stage. It offers a survey of every theater piece Ellington is known to have worked on during his lifetime, beginning with the 1925 revue The Chocolate Kiddies and ending with the unfinished "street opera" Queenie Pie. This large body of work includes full-length musicals, African American revues, ballets, and incidental music. The plot of each work is described and the score analyzed according to its dramatic function in the piece. Musical phrases are reproduced in the text, and associations with other well-known Ellington compositions are noted. An appendix provides a chronological listing of Ellington's shows with song titles conveniently listed under each.