Part 1 List of Figures Part 2 Editor's Foreward Part 3 Introduction and Acknowledgments Chapter 4 1. The Tune-Dex: A Card Catalogue for the Music Industry Chapter 5 2. The Growth of Cocktail Lounges: Musicians Need Tune-Dex, Too Chapter 6 3. Songs and Copyright and the Invention of Chord Symbols Chapter 7 4. The Tune-Dex Fake Books: Enter the FBI Chapter 8 5. Evidence Given in 4/4 Time Chapter 9 6. Legit Fake Books Chapter 10 7. The Making of The Real Book Part 11 General Index Part 12 Title Index Part 13 Song and Show Index Part 14 About the Author
Barry Kernfeld is a saxophonist, the editor of The New Grove Dictionary of Jazz (1988; 2nd ed., 2001), and the author of What to Listen for in Jazz (1995). He is also the staff archivist in the Historical Collections and Labor Archives within the Special Collections Library at the Pennsylvania State University.
This volume follows the history of fake books from the Tune-Dex
subscription service used in the 1940s to the Real Book series now
popularly used (the latter described in part by musicians Steve
Swallow and Pat Metheny). Kernfeld details how chord symbols and
the first fake books originated, the first copyright infringement
case against bootlegging, and when authorized fake books began to
appear. In addition to the general index, title and song/show
indexes are also provided. Kernfeld is a saxophonist, editor of The
New Grove Dictionary of Jazz and author of What to Listen for in
Jazz.
*Reference and Research Book News, November 2006*
The book is meticulously researched and of great interest to
students of the American music industry, particularly in the
post-Tin Pan Alley era.
*VJM's Jazz and Blues Mart, No. 146 (Summer 2007)*
Kernfeld succeeds in his intent to convey the importance of the
fake-book and its historic placement contextually in the larger
struggle of music piracy. The groundwork has been laid in The Story
of Fake Books, and numerous threads of departure for future
research have been introduced in this important study.
*American Music*
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