Index

accordion, 97
Adler, Kurt, 233
Adorno, Gretel, 3
Adorno, Theodor
Aesthetic Theory, 17
American works, 3–4
centenary proceedings, 1
Faithful Repetiteur, 29
In Search of Wagner, 17
Introduction to the Sociology of Music, 29
Minima Moralia, 2
‘Music and Radio’, 18, 21–2
Music in Radio, 17–18, 22
New York (1938–41), 2–3
‘On Jazz‘, 36
‘On the Fetish Character in Music‘, 18
‘On the Musical Utilization of Radio‘, 29
Philosophy of New Music, 17, 23, 26
post-war radio work, 35
prolificness, 17
radio lecture series, 7
‘Stravinsky and the Restoration‘, 23–4
‘Alexander’s Ragtime Band’, 298, 481
Allport, Gordon, 460
American Sociological Review, 36
Anders, Günther, 38
appreciation, see music appreciation archaism, 395
Archer, Gleason, 60–1, 390
Aristotle, 192
arrangements, 211
art
Adorno’s concept, 13, 24–5, 31, 197, 415
art for art’s sake, 59
bourgeois art, 363, 463
community building, 51
Europe, 414
leisure classes, 71
mass production, 190
mechanical reproduction, 14–16, 23, 62–4
non-auratic art, 387
pleasure, 128–9
psychological effect, 193–4
uniqueness, 88–92, 384–6
atomizing, 55, 59, 62, 120–32, 151, 155–9, 170, 196, 209, 220, 313, 319, 360, 362–3, 369–70, 431–2, 449
atonal music, 11, 22–3
Auber, Stefan, 233
aura of music, 89–92, 119, 385, 473
‘Avalon’, 258, 259, 402, 405–8, 411, 481
Babbitt, Milton, 36
Babbittry, 166, 200–11, 475
baby talk, 295–6
Bach, Johann Sebastian, 173, 176, 177–8, 188, 201, 211, 213, 227, 266
barbarization, 465
Barber, Samuel, 208–9
Barbirolli, John, 117
Barcelata, Lorenzo, 328
Barlachii Volga Singers, 453, 483
Basteler, 480
Baudelaire, Charles, 262, 414
BBC, 35
Beethoven, Ludwig van, 6
5th Symphony, 156–7, 161, 186, 199, 283–4, 361, 366
7th Symphony, 282–3
Appassionata, 230, 231, 301
clichés, 266
colour, 161
Coriolanus, 175
deafness, 125, 427
dope tendency, 356
Fidelio, 185
Fugue for String Quartet, 129
late quartets, 266
melodies, 254
music appreciation, 185, 186, 195, 199–202, 206, 220, 227–31
popularity, 130
sonatas, 182, 211, 300, 311, 415
symphonies, 19–20, 26, 28, 51–2, 54–5, 62, 68, 127, 145–61, 352–3, 356–9, 363, 473–4
tension, 123, 153
variations, 226
Waldstein Sonata, 148
Bekker, Paul, 50–2, 54, 147–8, 151, 351–4, 473
‘The Bells of San Raquel’, 36, 327–31, 335–8, 481
Benjamin, Walter, 3, 14–16, 17, 18, 19, 20, 88–9, 92, 119, 384–5, 387
Berg, Alban, 13, 130, 185, 225, 260, 262, 263
Berlin, Irving, 298
Berlin Radio Station, 78
Berlioz, Hector, 121, 154, 358
Bernfeld, Siegfried, 49, 372
Bizet, Georges, 179, 221
Bluebird, 453
Botticelli, Sandro, 385
Brahms, Johannes, 161–2, 196, 201, 233, 367
Breisach, Paul, 234
Bruckner, Anton, 75, 260, 378
Cage, John, 22
Cantril, Hadley, 460
catchword stimulus, 62, 123
CBS, 47
Chaliapin, Fyodor, 453, 484
chamber music, 56, 145, 222, 472, 473
Chaplin, Charlie, 397
Chicago Civic Opera, 5
Chicago School, 456
choice, 95–7, 141
Chopin, Frederic, 221, 222, 261, 476
City Center for Music and Drama, 6, 28
classicism, 24, 162, 221, 224, 367
classification, 418–19, 451–5
Cocteau, Jean, 151
commodification, 135–8
community building, 50–1, 63, 151, 354
consonance, 421
consumerism, 194
Coolidge, Elizabeth Sprague, 472
corniness, 320–1
crucial groups, 459–60
‘Cry Baby Cry’, 296, 482
culinary listening, 120–32, 220
culture
democratization, 7
Germany, 12–13
musical pseudo-culture, 191–215
radio and cultural hunger, 4–8
Curtis, Alberta, 459, 493n4
Czechoslovakia, 113
Damrosch, Walter, 8, 13–14, 25, 31, 165–6, 169, 178, 181, 185, 191–2, 201, 203–8, 211, 453–5, 472
De Rose, Peter, 36
Deane, Martha, 71
Debussy, Claude, 127, 262
‘Deep Purple’, 36, 284, 301, 303, 331–4, 482
depth of sound, 85
derivation, 349
Dewey, John, 169–70
discord, 209, 421, 425
doubles, 82, 83, 381
drama, 155
Dvo ák, Antonín, 319
Earhart, Will, 192
echo-effect, 74, 87, 92, 113, 117–18, 349–50, 377–8, 383
Edison, Thomas, 60–1, 390
education, see music appreciation
Eisler, Hans, 31, 233
Ellington, Duke, 225, 484
emotional listener, 312–13, 318–19
emotionalism, 426
empirical research
crucial groups, 459–60
life histories, 459
methodology, 477–8
music psychology, 413–50
personal interviews, 456–60
personality approach, 458–9
qualitative analysis, 12, 37, 478–9
theory, 478
Enlightenment, 461, 463
entertainment, 143, 160, 191, 235, 313, 475, 479–80
erudite listener, 312
Eucken, Rudolf, 203
expressionism, 261
family authority, 464
fan mail, 105–10, 113, 139–40
Farnsworth, Charles, 165, 174, 182
fascism, 466
Fechner, Gustav, 417
Ferenczi, Sándor, 49, 372
fetishism, 16–19, 27, 86, 102, 109, 126, 137, 145, 169, 171, 191, 197–8, 222, 318, 325, 386, 470, 473–4, 476, 480
Fischer, J. K. F., 176
Flaubert, Gustave, 13
Flesch, Hans, 78
Florence, 118
folk songs, 107, 171, 264, 453–4, 474–5
form, 257–60
Forrai, Olga, 233
France, impressionism, 262
Frankfurt Radio Station, 74, 96
Freud, Sigmund, 461, 462
fugues, 176, 178, 187–9, 211, 225, 227
fun, 192–7, 219
Furtwängler, Wilhelm, 62
fury, 320, 323, 324
Garbo, Greta, 292, 473
gender, 394–5
Genoa, 150, 355
George, Stefan, 261
Germany
accordion, 97
culture, 12–13
hit songs, 476
listening to Hitler, 113
National Socialists, 464
philosophy, 357
radio concentration, 96
Gestalten, 419, 421–2
Giacometti, Alberto, 28
glamour, 159, 294–5, 313, 359, 364, 368
Gluck, Christoph, 118, 131
Goethe, Johann von, 43, 192
good music, 134–5
good musical listener, 311
good reception, 97–105
Goodman, Benny, 135, 289, 297, 324, 402, 405, 411, 481
‘Goody, Goody’, 296, 482
Gorer, George, 489n59
Grove, George, 199–200
gypsy piano, 97
Hamlet, 156, 361
Handel, George Frederic, 176, 177, 201
Havighurst, Robert, 46–7, 347
Haydn, Joseph
C major symphony, 251–6
melodies, 284
music appreciation, 182, 221, 225
musical intelligence, 427
sonatas, 190
Surprise Symphony, 179, 226
symphonies, 146, 169, 177, 182, 189–90
headlines, 64–5
hear-stripe, 19, 113–20, 121
Hegel, Georg, 426
Heidegger, Martin, 13, 82, 381
Heine, Heinrich, 83, 381
hero-worship, 173, 201
Hindemith, Paul, 128, 317
hit songs, 62, 476
accordion, 97
‘The Bells of San Raquel‘, 36, 327–31, 335–8
‘Deep Purple‘, 36, 331–4
evaluation, 327–8
lyrics, 392–8
material v treatment, 399–412
plugging, 140–1, 291–3, 297–8, 305, 321, 433, 438–9
publication history, 36–7
styles, 399–412
‘Two in Love’, 36, 331–4, 339–42
see also popular music
Hitler, Adolf, 113
Hobson, Wilder, 297
‘Home Symphony‘, 110–11
Homer, 31
homophony, 186–7
Honolulu, 469
Horkheimer, Max, 2, 3
Horváth, Ödön von, 466
Huberman, Bronislaw, 111
humour, 453–4
Husserl, Edmund, 350
Hutton, Barbara, 320
‘I Want to Be Happy’, 296, 483
ideal motion, 165, 174
‘I’m Just a Jitterbug’, 324, 482
impressionism, 262
improvisation, 288–9, 298, 400–1
Institute for Social Research, 3, 30, 36
instrumental characterization, 169
intensity of sound, 149–51, 358–9
interviews, 456–60
Jaensch, E. R., 427
jazz, 36
arrangements, 297–8
corniness, 320–1
impotence motif, 397
journalism, 297, 320
music appreciation, 221, 222, 225, 226
pseudo-primitivism, 311
quasi-mechanized technique, 145
radio transmission, 122
standardization, 285
styles, 399–412
taboos, 434
trends, 455
Jeans, James, 27
jitterbugs, 314, 323–6, 403, 432, 443
Johnson, Alvin, 459
Jolson, Al, 258
Jushny, Yuri, 453
Kant, Immanuel, 43
Karapetoff, Vladimir, 471
keyhole listening, 57
Khuner, Felix, 233
Kidoodlers, 117
Kolisch, Rudolf, 233
Kolisch Quartet, 232, 233
Kostelanetz, André, 404, 432
Kraus, Karl, 234
Krenek, Ernst, 22, 38, 63, 64, 96, 112, 234, 349
Kresh, Paul, 242
Kurth, Ernst, 84, 86, 319, 382, 418, 418–20, 419–20, 422, 446–7
La Guardia, Fiorello, 6–7
Landwehr, Rose, 234
Laughton, Charles, 387
Lavater, Johann Kaspar, 43
Lazarsfeld, Paul
advertising industry and, 11
benevolent administrative research, 134
Princeton Radio Research Project, 2, 10
promotion of culture on radio, 15
qualitative research, 12
relations with Adorno, 3, 14, 18, 22, 27, 30, 32, 38, 141
theory and empiricism, 451
Leeds, Milton, 36, 329
leisure time, popular music and, 308–14
letter-writers, 105–10, 113
life histories, 459
likes and dislikes, popular music, 273–80, 440–6
listener theory
ambivalence, 320–3, 435, 443
anti-musical type, 315
emotional type, 312–13, 318–19
erudite type, 312
fury, 320, 323, 324
good musical listener, 311
indifferent type, 315
jitterbugs, 314, 323–6
leisure time, 308–14
music as entertainment, 143, 160, 191, 235, 313, 475, 479–80
musical sportsmen, 314–15
obedient type, 317
popular music, 299–326
recognition, 299–307
sensuous type, 313
social cement, 315–19
spite, 323–6
time-killer type, 314
Liszt, Franz, 207
Locke, John, 66–7
Lombardo, Guy, 132, 142, 289, 403, 404, 405, 432, 481
‘London Bridge is Falling Down’, 170, 229, 296, 483
Lone Ranger, 45, 47
Lorenz, Alfred, 188
loudspeakers, 46, 48, 70, 83
Ludwig, Emil, 472
lyrics of popular music
archaism, 395
composition and, 392–3
daddy songs, 397
gender, 394–5
impotence, 397, 398
inarticulate social psychology, 393–4
manifest and latent content, 395–6
motif of the invidious, 396–7
pseudo-nursery rhymes, 397
psychoanalysis, 396
sex, 396
societal problems, 398
MacDougald, Duncan, 292
machine age, 317
Maeterlinck, Maurice, 233
Mahler, Gustav, 158, 189, 207–8, 233, 260, 264, 266, 362
Maier, Joseph, 144
‘Mandalay’, 281, 483
manipulation, 134
market society, 192
Marshall, John, 11, 12, 489n59
mass production, 71, 94, 136–7, 142, 190, 265, 276, 286, 288, 301, 386, 399, 405, 440, 450, 471
mechanical reproduction, 14–24, 27, 58–65, 81, 88–92, 94, 226, 346, 349–53, 384–6
mechanization, 23, 48, 62, 77–8, 103–4, 122, 145, 155, 194, 261, 294, 309, 360, 378, 463
melody, 139, 174, 186–7, 220, 223, 227–9, 236–50
Mendelssohn, Felix, 228
Metropolitan Opera, 6, 190, 469, 471
microphones, 48, 116, 372–3
Mischakoff, Mischa, 476
modern music, 138, 220
monopolism, 71, 94, 95–6, 104, 136, 308, 349, 388, 389–90, 437, 467, 470, 478
Monteverdi, Claudio, 118
motion pictures, 88–9, 114, 115–16, 318, 473
Mozart, Wolfgang
deviations, 265
dynamic contrasts, 56, 177
G minor symphony, 157, 361
glamour and, 294
homophony, 186
Eine Kleine Nachtmusik, 185
music appreciation, 182, 226, 227, 228
symphonies, 146, 182
Münchhausen, Karl, 444–5
music
Adorno’s concept, 13–14
appreciation, see music appreciation
atomizing, see atomizing
autonomy, 316
characteristics, 118–19, 467–8
classification, 418–19, 451–5
commodification, 135–8
community building, 50–1, 63, 147–8, 151
culinary qualities, 120–32, 220
entertainment, 143, 160, 191, 235, 313, 475, 479–80
good music, 134–5
great music, 367
irrational power, 119
mass production, see mass production
political neutrality, 467–8
popular and classical, 5–6, 124, 226, 280–4
radio, see radio music
reification, 62, 76, 80, 83, 172, 197–8, 369, 378–9, 391
sensuality, 125–32
seriousness, 119
social trends, 62
unmusical music and spatialization, 17–24
music appreciation
authoritarianism, 191, 205, 222
Babbittry, 200–11
correct listening, 218, 220
cult of personalities, 200–3, 222
fun, 192–7, 219
‘Home Symphony‘, 111
modern music, 220
‘Music Is My Hobby‘, 110, 111–12, 469–72
NBC, see NBC Music Appreciation Hour
outside-inside process, 167–73
pedagogical requirements, 167–8
radio, 8, 11, 14
radio failure, 165
respect for works, 197
responses, 222
superficiality, 415
themes, 170–1, 218, 223–4, 228–9
value judgements, 212, 219
‘Music Guild‘, 472–4
‘Music Is My Hobby,’ 110, 111–12, 469–72
music psychology
basic principles, 416–28
classification, 418–19
deviations, 417, 424, 425, 428
experimentation, 413–50
measurability, 416–28
musical intelligence, 425–8
musical sense, 422–8
personal interviews, 456–60
popular music, 429–36
rationality, 414–15
tone v music psychology, 419–20
musica ficta, 118
musical form, 257–60
musical intelligence, 425–8
musical sportsmen, 314–15
Muzak, 345
‘My Reverie’, 398, 439, 483
Nazis, 464
NBC
‘Home Symphony‘, 110–11
‘Music Guild’, 472–4
‘Music Is My Hobby‘, 110, 111–12, 469–72
NBC Symphony, 27
NBC Music Appreciation Hour, 165–215, 472, 474
arrangements, 211
authoritarianism, 191, 222
Babbittry, 200–11
background explanations, 189–91
belief in career and success, 206–10
contents, 165
coyness, 184
cult of personalities, 200–9
explanations and examples, 178–83
hero-worship, 173, 201
misstatements, 183–9
musical analysis, 167–73
musical pseudo-culture, 191–215
outside-inside process, 167–73
overview, 8
pedagogical procedure, 174–8
pleasure and fun, 191, 192–7
publication history, 29, 31, 34
recognition, 197–200
systemic failure, 165, 166
tests, 211–15
neo-classicism, 24
neurosis, 465
neutralization of sound, 122–3
New York, 2–3, 6, 28
Newman, Ernest, 207, 208
Nietzsche, Friedrich, 151, 352
‘Night and Day’, 303, 305, 334, 483
nightingales, 74, 377–8
Novik, Morris, 6–7, 34
nursery rhymes, 170–1, 229, 281, 287, 296, 397, 433
objectivity, 66–9, 92–4, 374–5
obsolete modern, 320
Odets, Clifford, 1, 27
Oedipus complex, 464
Ohio School on the Air, 457
‘L’oiseau bleu’, 453, 483
opera, 6, 130–2, 207, 221
oral tradition, 475
originality, 16, 18–19, 21, 24, 57–8, 61–3, 71, 81, 89–92, 94, 144–5, 346–7, 384–6
ownership culture, 166, 207, 209, 362, 388, 429, 442
Paderewski, Ignacy, 426–7
Paganini, Niccolo, 476
painting, 23, 28, 89, 90, 196
Parsons, Jeffrey, 471
Pastor, Tony, 335
‘Penny Serenade’, 259, 328, 439, 483
personality
concept, 43
cult of personalities, 200–9, 222, 470–1
layers, 319
personality approach, 458–9
plugging, 297–8
Pfitzner, Hans, 225
phenomenal objectivity, 66–9, 92–4, 374–5
Philco, 99
philistinism, 113, 194, 210, 292
phonographs, 75, 76–9, 90, 103, 114, 349, 378–9
photography, 23, 53, 363
physiognomics, see radio physiognomics
piano, 184–5, 222
player-piano, 100
plugging, 140–1, 291–3, 297–8, 305, 321, 433, 438–9
Poe, Edgar Allan, 83, 381, 414
polyphony, 186–7
pop songs, see hit songs; popular music
popular music
ambivalence, 320–3, 435, 443
baby talk, 295–6
classical and popular music, 5–6, 124, 226, 280–4
fury, 320, 323, 324
general character, 392
glamour, 294–5
idiom, 330
improvisation, 288–9, 298, 400–1
journalism, 297
leisure time and, 308–14
likes and dislikes, 273–80, 440–6
listener theory, 299–326
lyrics, 392–8
musical form, 257–60
plugging, 140–1, 291–3, 297–8, 305, 321, 433, 438–9
presentation, 291–8, 399–406
pseudo-individualization, 273–4, 287–90
psychology, 429–36
publication history, 29, 36–7, 273
recognition, 299–307
social cement, 315–17
spite, 323–6
standardization, 276, 281–2, 284–7, 291, 322, 360, 432, 437
styles, 399–412, 430–1
swing over sweet, 407–11
see also hit songs
Porter, Cole, 334, 393
positivism, 423
potpourri, 156, 229, 256, 360–1
Preston, W. G., 489n59
Princeton Radio Research Project, 2, 3, 7, 10–16, 20, 22, 26, 30, 31, 456–60, 477–80
Proust, Marcel, 64
pseudo-activity, 480
pseudo-culture, 191–215
pseudo-democratization, 71
pseudo-individuality, 273–4, 287–90, 388
pseudo-primitivism, 311
psychoanalysis, 49, 112, 321, 326, 396, 435, 445, 479
psychology
experimentation in music
psychology, 413–50
lyrics of popular music, 394–7
methodology, 477–8
new type of human being, 461–8
Puccini, Giacomo, 124
qualitative research, 12, 37, 478–9
quotation listening, 156–8, 361–3
radio
authority, 376–7
closeness, 47, 76, 93, 347–50, 373
illusion of immediacy, 74–80, 377–80
illusion of privacy, 70–2, 388
music, see radio music
origins, 4–5
pedagogy, 8, 11, 14
physiognomics, see radio physiognomics
promotional bias, 166
sociology, 10–12
statistics, 9–10
technology, 26, 27, 116
time and, 74–80, 377–80
ubiquity, 80–92, 118, 380–91
ubiquity-standardization, 92–113, 388–91
radio amateurs, 480
Radio Generation, 316, 347, 465–6
radio music
aesthetics, 24–9
artificiality, 346
broadcasting records, 76–9
cultural hunger, 4–8
destruction of aura of music, 89–92, 119, 385, 473
entertainment, 143, 160, 191, 475, 479–80
exact listening, 26–9
ideological effect, 138
infantile features, 479
live music and, 345–91
modern music, 138
popular music, see popular music
retrogressive listening, 139
social critique, 24, 133–43
standardization, 92–113, 362, 373–4, 388–90
symphonies, see radio symphonies
symphony model, 50–65, 370–1
radio physiognomics, 43–132
atomistic listening, 62, 120–32, 155–9
categories, 74–132
concept, 43
hear-stripe, 113–20, 121
how of radio, 43–6
image-character, 113–20, 121
methodological inferences, 65–74
publication history, 18, 22, 34, 37
radio voice, 46–50, 325–91
symphony model, 50–65, 370–1
time difference, 74–80, 377–80
ubiquity, 80–92, 118, 380–91
ubiquity-standardization, 92–113, 388–91
radio symphonies
appearance, 53–8, 63–4
atomistic listening, 120–32, 155–9, 170, 360–3, 369–70
Beethoven, 145–61
characteristics of symphonies, 146–9
colour, 160–1, 358–9, 366
experiment in theory, 144–62
‘Home Symphony‘, 110–11
methodological inferences of radio, 65–74
model of radio music, 50–65, 370–1
potpourri, 156, 229, 256, 360–1
problem, 144–6
publication history, 29, 37
quotation listening, 156–8, 170, 361–3
retrogressive listening, 139
romantization, 158–60
sound intensity, 149–51, 358–9
threat to structure, 151–4
trivialization, 154–7, 159, 359–62, 363
radio voice
artificiality, 121
chamber voice, 56
character of reproduction, 58–65
entertainment, 143, 160, 191, 475, 479–80
illusion of closeness, 373
image-character, 113–20
live v radio music, 345–91
meaning, 46–50
methodological inferences, 65–74
publication history, 18, 31, 34, 37
social consequences, 58–65
symphonies, see radio symphonies
see also radio physiognomics
Ravel, Maurice, 127, 233
reception, good reception, 97–105
recognition
actual identification, 302–3
music appreciation, 197–200
popular music, 299–307
psychological transfer, 305–7
self-reflection, 304
subsumption, 303–4
vague remembrance, 302
reification, 62, 76, 80, 83, 172, 197–8, 369, 378–9, 391
relativism, 66
retrogressive listening, 139
Rhapsody in Blue, 161, 366, 484
Rilke, Rainer Maria, 129
Rimbaud, Arthur, 24
Rockefeller Foundation, 2, 11–12, 31, 38
Rogers, Ginger, 318
romanticism, 59, 118, 119, 124, 131–2, 154, 221, 233, 261, 353
romantization, 158–60
rondos, 180–1, 221, 225, 226, 259
Rorty, James, 457
Rose, Vincent, 258
Rosenberg, Alfred, 497n11
Rossini, Gioacchino, 130, 132
rubato, 403–4
‘Russian Lullaby’, 225, 405–8, 484
‘St. Louis Blues’, 298, 400, 484
Schoenberg, Arnold, 23, 25, 35, 151, 186, 231–3, 260, 261, 356
Schopenhauer, Arthur, 467
Schreiber, Flora, 242
Schreker, Franz, 127, 185, 313
Schubert, Franz
B minor symphony, 157, 177, 223
C major symphony, 177, 251–4, 266–70
music appreciation, 177, 221, 224, 228
Serenade, 453
songs, 189, 225
Unfinished Symphony, 235–42, 243–50
Schuller, Gunther, 9, 24
Schumann, Robert, 132, 177, 225, 228, 261
Scriabin, Alexander, 127, 313
Seashore, Carl, 195, 319, 348, 416–29, 437–8, 445, 446, 447–8
Second Viennese School, 13
selection, 95–7
self-expression, 469
sensuous listener, 313
Shaw, Artie, 204, 324
Sibelius, Jean, 208, 222, 474
Simmel, Georg, 203
Simpson, George, 32, 35, 36, 144, 280
sincerity, 209
Skinner, Dixon, 145
social cement, 315–17
social critique, radio music, 24, 133–43
social psychology, popular music and, 393–4
Sohn-Rethel, Alfred, 373
sonatas, 181–2, 211, 225, 227, 230
songs, 224, 225
sound colour, 160–1, 358–9
sound intensity, 149–51, 358–9
sound stripe, 114
Spaeth, Sigmund, 199, 291
spite, 323–6
standardization
choice, 95–7, 141
commodification, 135–8
countertendencies, 95–113
culture, 368
examples, 110–12
fan mail and, 105–10
freezing of standards, 286–7
good reception, 97–105
plugging, 140–1, 291–3
popular music, 276, 281–2, 284–7, 291, 322, 360, 432, 437
pseudo-individualism, 142, 374, 388
radio music, 92–113, 362, 373–4, 388–90
radio ubiquity, 92–113, 388–91
switching off, 112–13
terminology, 92–4
totalitarianism, 112–13
Stanton, Frank, 11, 14
statistical procedures, 456
stereo, 20
Stern, Günther, 81–4, 86–91, 90, 380–6
Steuermann, Eduard, 232, 233, 264
Stokowski, Leopold, 5, 345–6, 348, 389–90
Strauss, Richard, 154, 185, 233, 266, 358
Stravinsky, Igor, 13, 23–4, 25, 317
Stuttgart Radio Station, 96
styles
plugging, 297–8
popular music, 399–406, 412, 430–1
subjectivity, see objectivity
‘Sunrise Serenade’, 284, 484
surrealism, 320
swing, 289, 290, 297–8, 313, 314, 321, 397, 399–406, 430–4, 454
switching off, 112–13
‘Sylvia’, 281, 484
symphonies
Beethoven, 19–20, 28, 51–2, 54–5, 62, 68, 127, 145–61, 352–3, 356–9, 363, 473–4
Bekker’s theory, 50–2, 147–8, 351–4, 473
characteristics, 146–9
community building, 50–1, 63, 147–8, 151, 354
music appreciation, 196
radio, see radio symphonies
sound colour, 160–1, 358–9
structure, 151–4
taboos, 60–1, 220, 434, 467, 475
Taylor, Deems, 125–30, 195
Tchaikovsky, Piotr, 124, 160, 199, 221, 228, 319, 364–5
technique mindedness, 169–70
technology, 26, 27, 103–4, 116
telegraphy, 60, 390
telephone, 74, 345, 379
themes, 170–2, 218, 223–4, 228–9, 254–5, 266–70
Tiedemann, Rolf, 30, 40
‘Tiger Rag’, 225, 298, 400, 410, 484
time, radio and phonographs, 74–80, 377–80
time-killing, 314
‘A Tisket, A Tasket’, 296, 367, 481
torture, 466
Toscanini, Arturo, 111, 138, 204–5
totalitarianism, 112–13
tragedy, 192
‘Trees’, 281, 485
trivialization, 154–7, 159, 359–62, 363
‘Two in Love’, 36, 331–4, 339–42, 485
ubiquity, 80–92, 118, 380–91
ubiquity-standardization, 92–113, 388–91
unemployment, 464
uniqueness of art, 88–92, 384–6
United States
accordion, 97
customer-hegemony, 275
popular aesthetics, 194
radio diversity, 96
Valentino, Rudolph, 292, 320
Van Loon, Hendrik Willem, 471–2
Vaudrin, Philip, 30–2, 33, 35
Veblen, Thorstein, 61, 71, 169–70, 388, 395
Verdi, Giuseppe, 179, 190–1, 221
Verlaine, Paul, 262
Viennese School, 186, 233, 283, 284
violin, 125, 137, 154, 358–9, 475, 476
virtuoso, 130
Vlissi, Jascha, 233
Volga songs, 453, 483, 484
Wagner, Richard
colour, 358, 419, 425
definition of music, 122
homophony, 186
In Search of Wagner, 17
inventor of modern orchestra, 121–2
love affairs, 125
Die Meistersinger, 85–6, 188, 382, 453
motifs, 329
music appreciation, 177, 183–4, 206–7, 221
musical dope, 356
Parsifal, 291
piano, 476
radio transmission, 154
Ride of the Valkyries, 172–3
Ring, 185
sensuality, 124
Tannhäuser, 173
Tristan, 119, 121, 183–4
wish-fantasies, 352
Weber, Carl von, 177, 230
Weber, Ernst, 417
Webern, Anton, 260–2, 262, 424–5
Welles, Orson, 47, 373
Wells, H. G., 47
Whiteman, Paul, 161, 366
Wilhelm Tell, 361
Williams, Susie, 170, 198, 200
Willson, Meredith, 36, 339
Wise, Fred, 36, 329
wish-fulfillment, 318
Wolpe, Stefan, 263–4
WOR, 47 Z
WQXR, 5, 207
Würzburg School, 456
weig, Stephan, 472
Yurchenko, Henrietta, 242
Zemlinsky, Alexander, 233
Zweig, Stephan, 472