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The music in many early radio programs was, of course, in the public domain-a key reason for its adoption. While many know that Roosini's William Tell Overture forms the opening signature music, a whole variety of other composer's music was used within programs. But no records had been kept over the two decades the program aired and thus it was something of a puzzle to reassemble the information. What is most interesting, perhaps, are the legal entanglements still involved more than a half century after the program left the air. The book begins with a nearly page-long legal statement about the rights to the program. But Jones (a federal government personnel worker) went further and found out who performed the music used in the programs, delving into the archives of the producers. So while this may seems a very narrow study, it sheds light on an under-explored aspect of broadcasting-the music that helped to hold program contact together. Communication Booknotes Quarterly

The music in many early radio programs was, of course, in the public domain-a key reason for its adoption. While many know that Roosini's William Tell Overture forms the opening signature music, a whole variety of other composer's music was used within programs. But no records had been kept over the two decades the program aired and thus it was something of a puzzle to reassemble the information. What is most interesting, perhaps, are the legal entanglements still involved more than a half century after the program left the air. The book begins with a nearly page-long legal statement about the rights to the program. But Jones (a federal government personnel worker) went further and found out who performed the music used in the programs, delving into the archives of the producers. So while this may seems a very narrow study, it sheds light on an under-explored aspect of broadcasting-the music that helped to hold program contact together. * Communication Booknotes Quarterly * The music in many early radio programs was, of course, in the public domain-a key reason for its adoption. While many know that Roosini's William Tell Overture forms the opening signature music, a whole variety of other composer's music was used within programs. But no records had been kept over the two decades the program aired and thus it was something of a puzzle to reassemble the information. What is most interesting, perhaps, are the legal entanglements still involved more than a half century after the program left the air. The book begins with a nearly page-long legal statement about the rights to the program. But Jones (a federal government personnel worker) went further and found out who performed the music used in the programs, delving into the archives of the producers. So while this may seems a very narrow study, it sheds light on an under-explored aspect of broadcasting-the music that helped to hold program contact together. Communication Booknotes Quarterly

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