Discography: Discipline and Musical Ally: Michael Gray
By the end of the Second World War, Old World fan-researchers had created a cottage industry of small-circulation magazines in which discographies often drew new information from a research community more interested in expanding knowledge than in claiming credit. By the final edition of Hot Discography,2 published in New York in 1948, a distinctive discographic format had become well-established. The data about the performance was one of the key elements to have been cited, and included lists of the names of performers, the titles of the tunes being played (although not necessarily the names of the composers), and a note about where and when the recording had taken place. Another feature of the discographies documented the recording process itself. In most discographies of pre-LP material, this consisted of the matrix, or internal control number, that identified the disc (and later the master tape) onto which the performances were "cut." Also included were the catalog numbers of the records (and other media) that were issued for sale.