Discographies chronicle the formal and informal activities of the world-wide sound recording industry. Yet with the ubiquity of time-altering recording media, typified by editable magnetic tape, discographers face ever more vexing questions and challenges about what their work actually documents. The theories of Lerdahl and Jackendoff, and those of Baroni and Jacoboni provide the foundation of a project to define closely the style of Debussy based on the identification of 92 melodic phrases. Each melody is parsed according to a paradigm derived from Baroni and Jacoboni. The project seeks an explanation for the subtleties that we recognize as features of Debussy's style, but which we cannot satisfactorily rationalize.
Ephemera vivify the history of music, illuminate people, events and organizations.
This article argues for a general definition of musical ephemera, and the importance of these sources in various types of musicological research. With a consensus on definitions we can proceed to explore what explore what ephemera exists in the U.S., where it is, and what is being done with it. Issues relating to acquisition and bibliographicalcontrol are also discussed. Summarizes the results of informal surveys of librarians and publishers taken in the 1980's. Librarians also felt a need for indexes to collections of music, of essays, and of single items on recordings.