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a descriptive catalog of musical recordings

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Epperson takes a complementary approach by looking at the careers of the leading discographers and how they developed their standards and practices.
The work of the expert discographer begins with the concept of the discography itself, regardless of the kinds of recordings or genres of music involved.
In a detailed article nearly ten years ago, discographer Tim Brooks stressed the importance of documenting the sources of discographical information.
Raben's reputation as a meticulous, authoritative, and definitive discographer has scholars eagerly awaiting each installment, which have been very slow in coming.
Early Caruso discographers, including Favia-Artsay and Bolig in his 1973 book, dated the Zonophone discs and Anglo-Italian Commerce Company cylinders to 1901.
A discographer traces the history of the recording, from recording sessions to release, documenting when possible the place and date of each session, the personnel involved, other takes from the session, and release information.
The discographer may then consult union catalogs of large library collections - and a few other resources as well - and come up with an amount of data that, while far from complete, is nevertheless quite useful and interesting.
Roger Flury demonstrated the problems that discographers encounter in this type of work, the risks of perpetuating mis-information and compounding problems for future researchers.
The enormous outpourings of the recording industry and its advances in digital reproduction have converted some musicologists into discographers.
Sonic also opens a door for HD discographers and developers who can leverage Sonic's broad distribution to monetize their own unique high-definition expertise and interactive artistry, while at the same time adding value to the EDGe program.
At first glance, discographies appear to be only useful to jazz discographers, but, under closer scrutiny, the relationships between artists and their employers are of vital interest to other jazz historians as well.
It was not for mere completeness that early discographers pestered jazz musicians about who played what, even the rhythm section instruments, on their records.
This book is not to be missed by readers of American popular music for its informed narrative and thorough documentation, and it should be studied by all discographers for the kinds of details it includes.
Furthermore, the discographers refer to recordings that fall outside the established parameters, "i.