By 1920, arbitrary improvisation was unacceptable. These manuals and cue sheets prove that the musician community strove for a close connection between the image on screen and accompaniment. This shows how compilers associated music and film. Cue by cue analyses of The Cat and the Canary and The Gaucho show a high repetition of music, establishing continuity between the music played and the image on the screen. Bradford, Ernst Luz, Edward Kilenyi and Michael P. Creator/Collector: Company: First National Box 1, Folder 22 AT THE END OF THE WORLD, 1921. Creator/Collector: Company: Fox Box 1, Folder 21 ASHES OF VENGEANCE, 1923. Tyacke George, Edith Lang and George West, Ernst Luz and George Tootell. Container List Finding Aid for the Collection of Thematic Music Cue Sheets for Silent Films, 1915-1928 162 4 Box 1, Folder 20 AS NO MAN HAS LOVED, 1925. ![]() How-to manuals and cue sheets helped the musician accurately and consistently accompany a film. ![]() ![]() Pre-scored music was widely practiced amongst musicians. This thesis argues that how-to manuals and cue sheets are indicative of ideal performance practice amongst musicians from the silent film era. Ideal Performance Practice for Silent Film: An Overview of How-to Manuals and Cue Sheet Music Accompaniment from the 1910s – 1920s Silent Films, Film Music I, 78) notes the projectionists cue sheet for Old Ironsides, in which instructions are given for.
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