Figure 1 Cases involving the Società Pittaluga, 1924–33 More

Figure 2 Cases involving cinema musicians before and after Mauri v. Gaeta More

Figure 1 I Used to Love to Dream album cover, reproduced from https://doi.org/10.3998/mpub.11738372 More

Figure 2 Screenshot from the e-book I Used to Love to Dream , showing the track information, media player, and lyrics for the song “Framing Pain,” accessed April 2022, from https://doi.org/10.3998/mpub.11738372 More

Figure 1 Screenshot from Song in the Sumatran Highlands, showing the home page and “Table of Contents,” https://songinthesumatranhighlands.com/song-in-the-sumatran-highlands/index More

Figure 2 Screenshot from Song in the Sumatran Highlands, showing the site’s use of Scalar’s nested menu system (accessed from any page of the site, shown here above the page for “Places,” https://songinthesumatranhighlands.com/song-in-the-sumatran-highlands/places ) More

Figure 3 Screenshot from Song in the Sumatran Highlands, showing the visualization tool for “Songs Named for Places,” https://songinthesumatranhighlands.com/song-in-the-sumatran-highlands/songs-named-for-places More

Figure 1 Vera Lynn on the ATV (Associated-Rediffusion Television) set “at Wood Green Empire or at the Palladium” in the late 1950s. ATV held the ITV franchise in the London area. Photograph by Harry Hammond. © Harry Hammond / Victoria and Albert Museum, London. Used by permission. More

Figure 2 Vera Lynn at her sewing machine, in the BBC television series At Home , ca. March 1957. PA Images / Alamy Stock Photo. Used by permission. More

Figure 3 “Vera’s side set.” Detail from the set plans for the transmission of April 9, 1957, BBC WAC T12/439/1. BBC copyright content reproduced courtesy of the British Broadcasting Corporation. All rights reserved. Used by permission. More

Figure 4 “Illuminated opening name signs.” Detail from the set plans for the transmission of April 9, 1957, BBC WAC T12/439/1. BBC copyright content reproduced courtesy of the British Broadcasting Corporation. All rights reserved. Used by permission. More

Figure 1 A passage from Gershwin’s short score manuscript showing the speech notation used for white characters. Porgy and Bess , holograph piano-vocal score, act 1, scene 2, R180.2–4. George and Ira Gershwin Collection, Library of Congress. Used by permission. PORGY AND BESS Music and Lyrics... More

Example 1 Opening measures of the three Black/white exchanges, showing the recurring motive D–B♭ of the Black response to a white character: (a) act 1, scene 2, R180.1–2 (b) act 2, scene 1, R64.5–6 (c) act 3, scene 2, R46.1–2 More

Example 2 Cyclic harmonic progression deployed in “Gone, Gone, Gone,” act 1, scene 2, R164.2–R165.1 More

Example 3 Transposed “Gone, Gone, Gone” progression in the first Detective exchange, act 1, scene 2: (a) first statement of the chord cycle, R180–R181.2 (b) voice leading reduction (ties indicate notes held across multiple chords in the score) More