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a descriptive catalog of musical recordings

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Each man's effort was begun not in a vacuum, but with the data collected by previous discographers back to Delaunay.
These discographers are rightfully concerned with defining the essential elements that belong in a discography, and providing a layout that is most helpful and accommodating to both the reader for reviewing the data and the discographer for collecting it.
Once the Minimoog was available, the market for synthesizers grew exponentially, and so did the challenge for any writer, discographer, or researcher like myself to keep track of all of the recordings.
Certainly there is enough work to go around for many discographers, through finding subscribers for overlapping projects is difficult.
Here Lord was simply following in the footsteps of many earlier amateur discographers who--either through ignorance or carelessness--omitted composer credits.
Bolig is a seasoned discographer of the recordings of the Italian tenor Enrico Caruso.
Rainer Lotz is the rugged individualist of discographers.
Even veteran discographers need to be reminded that Milt Gabler (Commodore records) had a habit of assigning matrix numbers based on his first and second preferences rather than on chronological sequence.
For this reason, discographers, collectors, and admirers of Hackett will find the book worth its high price.
Unlike most discographers, the authors offer sometimes exhaustive com mentary on the recordings, particularly on the technical and documentation problems for which Smith was notorious.
The 28 May 1930 session date assigned by the discographers is too specific and perhaps too early.
This is a highly sensible approach and one that other discographers should consider, particularly since even modest personal computer database programs allow generation of reports in a variety of formats.
All in all, the Handbook is a noteworthy effort and should be indispensable to anyone involved with the performance or programming of orchestral music, including program annotators, orchestra managers, librarians, arts administrators, conductors, musicians, broadcasters, discographers, and choral groups.
It would be possible to relate several personal stories revealing that leading discographers were unaware of the work's existence, but only one such story is of importance to our essay.
Nor is it to suggest that the discographers ought to be taking a different approach--it would be presumptuous to recommend revising the convention without actually taking on the task.