L'Anthologie Sonore series of early music recordings and recorded Renaissance lute songs for HMV—and the 1937 presentation and recording of some of Monteverdi’s Madrigals by Nadia Boulanger in France. Arnold Dolmetsch is widely considered the key figure in the early music revival in the early 20th century. Dolmetsch's 1915 book The Interpretation of the Music of the XVIIth and XVIIIth Centuries was a milestone in the development of authentic performances of early music. Late 20th century By the 1950s the early music revival was underway, and was a fully established phenomenon by the end of the 1970s. It was centered primarily in London and Basel (at the Schola Cantorum Basiliensis), although there was much activity in other European and American cities, especially New York, Boston, and San Francisco (centered around its Philharmonia Baroque). It had far-reaching and important effects for the way that people listen to classical music and the way it is taught, performed, sponsored and sold. Few people involved in the classical music industry today would not acknowledge the breadth and depth of the impact that this movement has had. As much as any other force in the period, the protagonists of the early music revival were opponents of cultural values that, in the late 1950s, seemed virtually unquestionable. The revival of interest in music from earlier periods was more widely felt than in the pedagogy and performance practice of European art music; it also influenced the performance practices and research of popular music and the music of oral traditions. Also, in the 1970s and 1980s many ensembles in Europe, led by the likes of Nikolaus Harnoncourt (Austria), Gustav Leonhardt, Jos van Veldhoven (Netherlands), Philip Herreweghe, Sigiswald Kuijken(Belgium), Christopher Hogwood, Trevor Pinnock (England) and many others, made works in baroque and early classical periods approachable and accessible for a much greater public. The early music revival changed the listening habits of classical music audiences by introducing them to a range of music of which they were largely unaware. In the long term, the performance methods and values of the early music revivalist, particularly what became known as a quest for 'authenticity' had a permanent effect not only on early music performance, but also on the performance of music from later periods. Most interest was centered on the medieval and renaissance periods, and to a certain extent, the first part of the baroque period. However, it could be misleading