discography

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dis·cog·ra·phy

 (dĭ-skŏg′rə-fē)
n. pl. dis·cog·ra·phies
1. The study and cataloging of phonograph records.
2. A comprehensive list of the recordings made by a particular performer or of a particular composer's works.

dis·cog′ra·pher n.
dis′co·graph′i·cal (dĭs′kə-grăf′ĭ-kəl), dis′co·graph′ic (-grăf′ĭk) adj.

discography

(dɪsˈkɒɡrəfɪ)
n
1. (Library Science & Bibliography) a classified reference list of gramophone records
2. (Music, other) another word for discology
disˈcographer n

dis•cog•ra•phy

(dɪˈskɒg rə fi)

n., pl. -phies.
1. a selective or complete list of phonograph recordings, typically of one composer, performer, or conductor.
2. the analysis, history, or classification of phonograph recordings.
[1930–35; < French discographie. See disc, -o-, -graphy]
dis•cog′ra•pher, n.

discography, diskography

1. a list of musical recordings, usually with commentary, often concerning one composer, performer, or performing group.
2. the analysis, history, or classification of musical recordings.
3. the methods of such analysis or classification. — discographer, diskographer, n.discographical, diskographical, adj.
See also: Phonograph Records
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.discography - a descriptive catalog of musical recordings
catalogue, catalog - a complete list of things; usually arranged systematically; "it does not pretend to be a catalog of his achievements"
Translations

discography

[dɪsˈkɒgrəfɪ] Ndiscografía f

discography

[dɪsˈkɒgrəfi] ndiscographie fdisco lights npléclairages mpl de discothèque

discography

nDiskografie f

dis·cog·ra·phy

, diskography
n. discografía, radiografía de un disco vertebral usando un medio de contraste.

discography

n discografía (técnica)
References in periodicals archive ?
Epperson takes a complementary approach by looking at the careers of the leading discographers and how they developed their standards and practices.
Roger Flury demonstrated the problems that discographers encounter in this type of work, the risks of perpetuating mis-information and compounding problems for future researchers.
The enormous outpourings of the recording industry and its advances in digital reproduction have converted some musicologists into discographers.
Thanks to the oral history projects, discographers, jazz historians and music ethnographers, more and more of the participation of different ethnic and immigrant groups in jazz is becoming known to a larger audience.
Discographers can be described as aural historians but that does not fully capture the lure of this work; they are also aural voyeurs.
Sonic also opens a door for HD discographers and developers who can leverage Sonic's broad distribution to monetize their own unique high-definition expertise and interactive artistry, while at the same time adding value to the EDGe program.
At the opposite ends of the spectrum are two general approaches: the efforts of academic or expert discographers, and those of collectors and musical specialists.
At first glance, discographies appear to be only useful to jazz discographers, but, under closer scrutiny, the relationships between artists and their employers are of vital interest to other jazz historians as well.
Thanks to oral history investigators, discographers, jazz historians, and music ethnographers, more and more is known about the participation of different ethnic and immigrant groups, including Puerto Ricans, in jazz.
One area where Lord has shown clear superiority over all other discographers is in the area of publicity and marketing.
It was not for mere completeness that early discographers pestered jazz musicians about who played what, even the rhythm section instruments, on their records.
This book is not to be missed by readers of American popular music for its informed narrative and thorough documentation, and it should be studied by all discographers for the kinds of details it includes.
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