ABSTRACT
Judging from the commentary in the trade journals, as early as 1910 the relationship between music and film imagery had permanently shifted. Whereas “early practice seemed more like the accompaniment of a musical concert by film projection,” Rick Altman writes, “the new approach . . . enforce[d] clear subordination of the music to the moving picture.”2 Five years later, when star-studded features had all but displaced the nickelodeon’s one-reel fare, music subordinated to a film’s dramatic content was more in demand than ever before. With the newly created ASCAP regulations, however, there were limitations on the type of music that might serve as accompaniment.
