ABSTRACT
Despite their name, the silent films of the early cinematic era were frequently accompanied by music and other sound elements of many kinds, including mechanical instruments, live performers, and audience sing-alongs. The 12 chapters in this concise book explore the multitude of functions filled by music in the rapidly changing context of the silent film era, as the concept of cinema itself developed. Examples are drawn from around the globe and across the history of silent film, both during the classic era of silent film and later uses of the silent format. With contributors drawn from film studies and music disciplines, and including both senior and emerging scholars, Music and Sound in Silent Film offers an essential introduction to the origins of film music and the cinematic art form.
TABLE OF CONTENTS
part I|54 pages
The Evolution of Sound and Performance Practices
chapter 1|20 pages
‘Better Music at Smaller Cost’
part II|32 pages
The Evolution of Sound and Performance Practices
chapter 4|14 pages
‘Players Must Be of a Good Class’
part III|38 pages
Synchronisation and Scoring
chapter 7|22 pages
Edmund Meisel’s Score to Der heilige Berg (1926)
part IV|62 pages
Synchronisation and Scoring