ABSTRACT
The focus of this chapter is the role of accordions, guitars, and pianos in early Soviet sound movies, whose task was to bring audible images into a relationship with Soviet values. Established before the camera (mise-en-scène), captured by the camera in accordance with setting sizes and widths (mise-en-cadre), and finally arranged in combination with other images (montage), musical instruments were assigned particular meanings which were communicated through acoustically perceptible sound. In this way, sound sources contributed to the construction of significant antitheses such as city vs. countryside and proletariat vs. peasantry.
