(b London, Feb 22, 1777; d London, May 8, 1858). English editor, critic and impresario, youngest son of Edmund Ayrton. He was baptized at St Margaret's, Westminster, and probably studied music with his father. In 1794 he was a bass chorus singer at the Ancient Concerts, and by 1803, when he married Marianne Arnold (daughter of Samuel Arnold), a piano teacher. Through the Chapel Royal connections of his father and father-in-law, and the friendship of Frederick Nicolay (Queen Charlotte's music librarian), he had easy access to court circles. But it was his membership in the Society of Antiquaries (1807) that stimulated his serious interest in music history. In 1808 he began collecting materials for a historical music dictionary (never completed), eventually assembling one of the most remarkable music collections of the mid-19th century. Among his circle of acquaintances around this time, mostly journalists and barristers, Henry Crabb Robinson, Martin Burney (the music historian's grandson), Charles Lamb and William Hazlitt were prominent; T.M. Alsager, the ...
(b Leicester, Sept 14, 1919; d Thornton Heath, Oct 26, 1976). English writer on music. He studied the piano privately, and music with Patrick Hadley and Robin Orr at Selwyn College, Cambridge (1938–40, 1946–7; MA, MusB), and worked for the BBC as a music presentation assistant (1947–56), music producer (1956–7), music presentation writer (1957–9) and music presentation editor (from 1965); in the intervening years (1959–65) he was a freelance writer on music. His main areas of research were 19th-century music, especially that of Wagner, Mahler, Bruckner and Delius, and musical semantics.
In 1960 Cooke made a ‘performing version’ of Mahler’s Tenth Symphony, which was first performed at the Proms on 13 August 1964 and subsequently revised in the light of this and other performances; Cooke was always at pains to emphasize that this text did not represent a putative reconstruction of the symphony as Mahler might have completed it but rather a text that carefully followed precedents established in the sketches and thus allowed Mahler’s music to be heard at least in a form not foreign to the composer. His version has won considerable praise; it has been much performed and recorded, and was published in ...
(b New York, Dec 18, 1928; d Feb 23, 2019). American writer. After attending the University of Missouri (1946–50) and Columbia University (1950) he worked for Prestige Records (1950–55). With Leonard Feather he collaborated on The Encyclopedia of Jazz (1955), for which he was an assistant writer and editor, and The Encyclopedia of Jazz in the Sixties (1966), and he was an author with Feather of The Encyclopedia of Jazz in the Seventies (1976) and the Biographical Encyclopedia of Jazz (1999). Gitler wrote for such periodicals as Metronome, Jazz Magazine, Down Beat (of which he was an associate editor), and Jazz Times, produced film scripts on Louis Armstrong and Lionel Hampton for the US Information Service, and was a commentator for radio station WBAI, New York; he also taught at CUNY. Among his more notable writings is ...
Travis D. Stimeling
[Charles Stacy ]
(b Knoxville, TN, June 21, 1921; d Nashville, TN, March 7, 2012). American country music journalist, publisher, and promoter. Charlie Lamb reshaped the Nashville music industry’s business practices during the 1950s and 60s and promoted Nashville as an international music center. Lamb began his career in Knoxville, where, among other jobs, he booked artists to perform on radio station WROL and reported for the Knoxville Journal. After moving to Nashville in 1951, he joined Cash Box as a columnist and ad salesman and later formed the Charlie Lamb Agency to promote several top recording artists. Lamb was a founding member of the Country Music Disc Jockey Association and organized an annual DJ convention that brought thousands of disc jockeys to Nashville. In August 1956, Lamb founded Country Music Reporter (renamed Music Reporter in 1957), a trade paper that covered the Nashville music industry and offered expanded chart coverage for country singles and albums. Selling ...
(b Vienna, July 13, 1902; d New York, Jan 7, 1987). American writer on music, of Austrian birth. He studied at the University of Vienna from 1918 to 1920, when he emigrated to the USA. Beginning his career as an advertising executive, he was later a vice-president and general manager for the record division of RCA Victor (1950–65), and he was music editor of Good Housekeeping (1941–57). He was particularly interested in popularizing music: he was responsible for the series of recordings Classical Music for People who Hate Classical Music, and wrote a number of popular biographies of composers and books on opera.How to Listen to Music over the Radio (New York, 1937) Bach on Records (New York, 1942) Beethoven on Records (New York, 1942) A Front Seat at the Opera (New York, 1948/R) The Good Housekeeping Guide to Musical Enjoyment...
(b Camborne, England, April 17, 1920; d London, Oct 3, 1987). English writer. He became interested in jazz in the mid-1930s and established contact with record collectors such as Max Jones, Charles Fox, and Leonard Hibbs. In 1942 McCarthy and Jones founded the Jazz Sociological Society and became the editors of its journal, Jazz Music; from 1944 to 1946, to circumvent wartime rationing of paper, the journal was temporarily discontinued and instead a series of separate booklets entitled Jazz Music Books was issued. McCarthy then edited the short-lived Jazz Forum: Quarterly Review of Jazz and Literature (1946–7), and, with Dave Carey, compiled six volumes of a discography of jazz. From 1955 to 1972 he was editor of the influential periodical Jazz Monthly, which, in addition to its catholic coverage of jazz and blues, also included items on related topics such as the record industry; in March 1971...
revised by Barry Kernfeld
(b Munich, Oct 24, 1929). American writer. He grew up in Vienna, but left in 1938 and spent the next nine years as a refugee in Denmark and Sweden. After moving to the USA in 1947 he studied history at Brandeis University (1953–6). From 1958 to 1961 he was the New York correspondent for Jazz Journal. He then served as editor of Metronome (1961), Jazz (1962–3), and Down Beat (New York editor, 1964–6, editor 1966–73) magazines; during the 1960s he also produced jazz concerts in New York and for television. In the mid-1970s he held appointments as visiting lecturer in jazz at Brooklyn College and the Peabody Institute, and in 1976 he became director of the Institute of Jazz Studies at Rutgers, in which capacity he has worked as an editor of the Journal of Jazz Studies (from 1982 the Annual Review of Jazz Studies...
(b Paris, Feb 27, 1912; d Montauban, Dec 8, 1974). French writer on jazz. After studying the saxophone he first wrote about jazz at the age of 18. He was one of the founders (in 1932) and then president of the Hot Club de France, and from 1935 to 1946 he was the editor of the journal Jazz-hot. With his unrivalled enthusiasm for communication, Panassié wrote hundreds of articles for this and other periodicals and was the author of several books, notably Le jazz hot, an important study that was among the first to treat jazz seriously. In 1938 Count Basie dedicated to him and recorded a composition called Panassié Stomp. The same year, in New York, Panassié organized a series of small-group recording sessions with Mezz Mezzrow which also included (at various times) Tommy Ladnier and Sidney Bechet; these were highly influential and contributed considerably to the New Orleans revival movement. In ...
revised by Barry Kernfeld
[Robert (D.) ]
(b New York, c1945). American writer. He studied clarinet and drums and played drums in workshops with Jaki Byard (1968–71) and Cedar Walton (1972). In the 1960s and 1970s he wrote for American and European periodicals, including Down Beat, Jazz Journal, and Jazz Forum, and in 1975 he began publishing the monthly magazine Cadence, which in the following years printed many wide-ranging interviews with jazz and blues musicians and reviews of recordings. Later he formed Cadence Jazz Records (1980), which by the late 1990s had issued more than 100 recordings; North Country Record Distribution (1983), which distributes the jazz and blues recordings of more than 900 small independent labels; Cadence Jazz Books (1992), which publishes reference books, histories, and discographies; and CIMP (1996), for which he had produced about 100 recordings by the turn of the century. He donated his extensive indexed collection of books and journals, covering jazz and blues literature in the English language, to the Schomburg Center for Research in Black Culture of the New York Public Library (...
Alec Hyatt King
revised by Malcolm Miller
(b Schwiegershausen, Nov 3, 1805; d Crete, Nebraska, March 1880). German writer on music. Like others of his generation, Schilling, the son of a pastor, received his education in both music and theology, in the former partly from his father, in the latter from teachers at Göttingen and Halle. From 1830 to 1836 he was director of a music school in Stuttgart founded by Franz Stöpel, but gave it up to become a freelance writer in theology and politics as well as in music. He was founder and secretary of the Deutsche National-Verein für Musik und ihre Wissenschaft and edited its yearbook from 1839 to 1843.
Between 1839 and 1850 Schilling published over a score of books on musical subjects including aesthetics, harmony, pianism and composers (among these an account of Liszt, 1842), which are generally superficial; they are, however, significant in their development of both performance theory and the history of music theory. His career in Germany came to an end in ...