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Musical AKAs
Jeanette Marie Drone
其他書名
Assumed Names and Sobriquets of Composers, Songwriters, Librettists, Lyricists, Hymnists, and Writers on Music
出版
Scarecrow Press
, 2007
主題
Biography & Autobiography / Reference
History / Reference
Language Arts & Disciplines / General
Literary Criticism / American / General
Music / General
Music / History & Criticism
Music / Reference
Music / Individual Composer & Musician
Performing Arts / Reference
ISBN
0810857391
9780810857391
URL
http://books.google.com.hk/books?id=MSAKAQAAMAAJ&hl=&source=gbs_api
註釋
There are many reasons for musical artists to write or compose under an assumed name: be it hiding or drawing attention to their ethnicity or gender, pursuing an additional career or genre, or writing a parody or humorous music. Often, nicknames are assigned to composers and lyricists, whether they want them or not. Whatever the reasons for these artists to use assumed names instead of or in addition to their own, this comprehensive resource has amassed and cataloged them. Musical AKAs is a wide-ranging index of assumed names and sobriquets of approximately 9,800 composers, songwriters, lyricists, librettists, hymnists, and writers of music. More than 15,000 assumed names--whether legal name changes, pseudonyms, pen names, or nicknames--have been collected into one easy to reference listing. Author Jeanette Drone has assembled information from numerous music sources--including comprehensive and biographical dictionaries and encyclopedias, biographies, journals, Internet web sites, and print and online copyright sources--and organized them into this extensive four-part volume. Part I alphabetically lists the sources in which assumed names or sobriquets were found for three or more individuals. Part II lists alphabetically the original names of artists from both popular and classical music, detailing their assumed names and sobriquets, dates, occupations, source codes, and complete bibliographic citations for print and Internet sources. The pseudonyms are cataloged alphabetically in Part III, with references to the original names. Musical AKAs concludes with Part IV, offering additional explanatory information on both original and assumed names.