National Recording Registry in the context of James H. Billington

Jeff Todd Titon (born 1943) is a professor emeritus of music at Brown University. He holds a B.A. (1965) from Amherst College, an M.A. (in English, 1970) and a Ph.D. (in American Studies, 1971) from the University of Minnesota. He taught American literature, folklore and ethnomusicology in the departments of English and Music at Tufts University (1971-1986), where he co-founded the American Studies program and also the M.A. program in Ethnomusicology. He taught at Brown University (1986–2013) where he was director of the Ph.D. program in Ethnomusicology. He held visiting professorships at Amherst College, Carleton College, Berea College, East Tennessee State University and Indiana University's Folklore Institute. His published books include Early Downhome Blues: A Musical and Cultural Analysis (University of Illinois Press, 1977; 2nd edition, University of North Carolina Press, 1994), Powerhouse for God: Speech, Chant and Song in an Appalachian Baptist Church (University of Texas Press, 1988; 2nd ed. University of Tennessee Press, 2018), Toward a Sound Ecology: New and Selected Essays (Indiana University Press, 2020). He is co-editor of the Oxford Handbook of Applied Ethnomusicology (Oxford University Press, 2015), Sounds, Ecologies, Musics (Oxford University Press, 2023) and general editor of Worlds of Music: An Introduction to the Music of the World's Peoples (Cengage/Schirmer Books, 6th ed., 2016). He was editor of Ethnomusicology, the journal of the Society for Ethnomusicology, from 1990-1995. In 1998, he was elected a Fellow of the American Folklore Society, and in 2020, he received their Lifetime Scholarly Achievement Award.

In 2015, his field recordings were chosen for preservation in the National Recording Registry, Library of Congress. Titon is known for developing collaborative ethnographic research based on reciprocity and friendship, for helping to establish an applied ethnomusicology based in social responsibility, for proposing that music cultures can be understood as ecosystems, for introducing the concepts of musical and cultural sustainability, and for his appeal for a sound commons for all living creatures and his current ecomusicological project of a sound ecology. His definition of ethnomusicology as "the study of people making music"—making the sounds they call music, and making music as a cultural domain—is widely accepted within the field.

The Super Mario Bros. theme, officially known as the "Ground Theme", is a musical theme originally heard in the first stage of the 1985 Nintendo Entertainment System (NES) video game Super Mario Bros. It was one of six themes composed for the game by Nintendo sound designer Koji Kondo, who found it to be the most difficult track to compose for it.

The theme is set in the key of C major with a tempo of 100 beats per minute and features a swing rhythm with prominent use of syncopation. While the original theme is composed within the sound limitations of the NES's 8-bit hardware, in later installments with more powerful sound hardware, it is often scored as a calypso song led by steel drums. It went on to become the theme of the series, and has been a fixture in most of its titles. It has been reused and remixed in other Nintendo-published games. The theme was included in the American National Recording Registry in 2023 for its cultural significance, becoming the first piece of music from a video game to do so.

Earl Eugene Scruggs (January 6, 1924 – March 28, 2012) was an American musician noted for popularizing a three-finger banjo picking style, now called "Scruggs style", which is a defining characteristic of bluegrass music. His three-finger style of playing was radically different from the traditional way the five-string banjo had previously been played. This new style of playing became popular and elevated the banjo from its previous role as a background rhythm instrument to featured solo status. He popularized the instrument across several genres of music.

Scruggs played in Bill Monroe's band, the Blue Grass Boys. "Bluegrass" eventually became the name for an entire genre of country music. Despite considerable success with Monroe, performing on the Grand Ole Opry and recording classic hits such as "Blue Moon of Kentucky", Scruggs resigned from the group in 1948 because of their exhausting touring schedule. Fellow band member Lester Flatt resigned as well, and he and Scruggs later paired up in the duo Flatt and Scruggs. Scruggs's banjo instrumental "Foggy Mountain Breakdown" was recorded in December 1949 and released in March 1950. The song became an enduring hit. The song experienced a rebirth of popularity to a younger generation when it was featured in the 1967 film Bonnie and Clyde. The song won two Grammy Awards and, in 2005, was selected for the Library of Congress' National Recording Registry of works of unusual merit.

Newsreel footage of the May 6, 1937 Hindenburg disaster, where the zeppelin LZ 129 Hindenburg crashed and burned down, was filmed by several companies.

The film is frequently shown with narration, by WLS (AM) announcer Herbert Morrison, who was narrating a field recording on to an acetate disc, and was present to watch the zeppelin's arrival. Morrison's commentary was recorded by engineer Charles Nehlsen, but not broadcast until the next day on May 7, 1937, one of the first times that recordings of a news event were ever broadcast. In 2002, the audio recording was selected for preservation into the Library of Congress National Recording Registry. It has since been combined with the separately filmed newsreel footage. Most of the original newsreels have their own narration, and many composite edits have been made for documentaries dubbed with Morrison's commentary.

In C is a composition by Terry Riley from 1964. It is one of the most successful works by an American composer and a seminal example of minimalism. The score directs any number of musicians to repeat a series of 53 melodic fragments in a guided improvisation.

Terry Riley's 1968 recording of In C was added to the National Recording Registry in 2022. The piece inspired countless other composers, including Philip Glass, Steve Reich, John Adams, and Julius Eastman.

The War Requiem, Op. 66, is a choral and orchestral composition by Benjamin Britten, composed mostly in 1961 and completed in January 1962. The War Requiem was performed for the consecration of the new Coventry Cathedral, in the English county of Warwickshire, which was built after the original fourteenth-century structure was destroyed in a World War II bombing raid. The traditional Latin texts are interspersed, in telling juxtaposition, with extra-liturgical poems by Wilfred Owen, written during World War I.

Britten scored the work for soprano, tenor and baritone soloists, chorus, boys' choir, organ, and two orchestras (a full orchestra and a chamber orchestra). The chamber orchestra accompanies the intimate settings of the English poetry, while soprano, choirs and orchestra are used for the Latin sections; all forces are combined in the conclusion. The Requiem has a duration of approximately 80–85 minutes. In 2019, Britten's 1963 recording of the War Requiem was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".

Pale Blue Dot: A Vision of the Human Future in Space is a 1994 book by the astronomer Carl Sagan. It is the sequel to Sagan's 1980 book Cosmos and was inspired by the famous 1990 Pale Blue Dot photograph, for which Sagan provides a poignant description. In the book, Sagan mixes philosophy about the human place in the universe with a description of the current knowledge about the Solar System. He also details a human vision for the future.

In 2023, the audiobook of Pale Blue Dot, read by Sagan, was selected by the Library of Congress for preservation in the United States National Recording Registry as being "culturally, historically, or aesthetically significant."

The United States National Recording Preservation Board selects recorded sounds for preservation in the Library of Congress' National Recording Registry. The National Recording Registry was initiated to maintain and preserve "sound recordings that are culturally, historically or aesthetically significant"; to be eligible, recordings must be at least ten years old. Members of the Board also advise the Librarian of Congress on ongoing development and implementation of the national recorded sound preservation program.

The National Recording Preservation Board (NRPB) is a federal agency located within the Library of Congress. The NRPB was established by the National Recording Preservation Act of 2000 (Public Law 106–474). This legislation also created both the National Recording Registry and the non-profit National Recording Preservation Foundation, which is loosely affiliated with the National Recording Preservation Board, but the private-sector Foundation (NRPF) and federal Board (NRPB) are separate, legally distinct entities.

"What'd I Say" (or "What I Say") is an American rhythm and blues song by Ray Charles, released in June 1959. As a single divided into two parts, it was one of the first soul songs. The composition was improvised one evening late in 1958 when Charles, his orchestra, and backup singers had played their entire set list at a show and still had time left; the response from many audiences was so enthusiastic that Charles announced to his producer that he was going to record it.

After his run of R&B hits, this song finally broke Charles into mainstream pop music and itself sparked a new sub-genre of R&B titled soul, finally putting together all the elements that Charles had been creating since he recorded "I Got a Woman" in 1954. The gospel and rhumba influences combined with the sexual innuendo in the song made it not only widely popular but very controversial to both white and black audiences. It earned Ray Charles his first gold record and has been one of the most influential songs in R&B and rock and roll history. For the rest of his career, Charles closed every concert with the song. It was added to the National Recording Registry in 2002 and appeared in the 2003 and 2021 versions of Rolling Stone's "The 500 Greatest Songs of All Time" list: at number 10 in 2003 and at number 80 in 2021.