Relevant bibliographies by topics / Music for silent film

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  1. Journal articles

Academic literature on the topic 'Music for silent film'

Author: Grafiati
Published: 9 March 2023

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Journal articles on the topic "Music for silent film"

1

Tieber, Claus, and Anna K. Windisch. "A highly creative endeavour: Interview with musicologist and silent film pianist Martin Marks." Soundtrack 12, no. 1 (2020): 61–77. http://dx.doi.org/10.1386/ts_00012_7.

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Martin Marks holds an almost unique position to talk about silent film music: he is a scholarly musician and musical scholar. Besides his canonical book on the history of silent film music (1997), he has been playing piano accompaniments for silent films regularly for nearly four decades. In this interview we asked Martin about the challenges and complexities of choosing and creating music to accompany musical numbers in silent cinema. Martin relates how he detects musical numbers and he expounds his decision-making process on how to treat them. His explanations are interspersed with engaging
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2

Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.

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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The
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3

Leonard, Kendra Preston. "Using Resources for Silent Film Music." Fontes Artis Musicae 63, no. 4 (2016): 259–76. http://dx.doi.org/10.1353/fam.2016.0033.

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4

Cieślak-Krupa, Agnieszka. "A Kiss for Cinderella (1925) The Importance of Historical Accuracy in Reconstructing Scores to Silent Films Based on the Mirskey Collection." Musicology Today 19, no. 1 (2022): 73–85. http://dx.doi.org/10.2478/muso-2022-0005.

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Abstract Collections of silent film music constitute valuable sources for historical research on the musical practice in the silent film era. The musical prints preserved in the Mirskey Collection were previously used by the author to reconstruct a score for the movie A Kiss for Cinderella (1925, dir. Herbert Brenon). This article describes the historical context considered during the reconstruction and discusses the workflow applied by Nek Mirskey (Bronisław Mirski) as a musical director of movie theatres. A comparative analysis of sheet music from the Mirskey Collection accompanied by handwr
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5

Cieślak, Agnieszka. "Bronisław Mirski - Polish Music Director of the Silent Film Era1." Musicology Today 17, no. 1 (2020): 72–83. http://dx.doi.org/10.2478/muso-2020-0006.

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Abstract Bronisław Mirski (b. 1887 as Moszkowicz in Żyrardów near Warsaw, Poland – d. 1927 in El Paso, Texas) belongs to the substantial group of Polish émigré artists of Jewish origin. A violinist and conductor educated in Europe, he permanently settled in the United States at the end of 1914 under the name of Nek Mirskey and soon began working as a music director in movie theatres. He was in charge of the musical settings for elaborate artistic programmes composed of silent films as well as music and stage attractions. His first widely acclaimed shows were presented at the Metropolitan Theat
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6

Tieber, Claus. "Walter Reisch: The musical writer." Journal of Screenwriting 10, no. 3 (2019): 295–306. http://dx.doi.org/10.1386/josc_00005_1.

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Academy Award-winning Austrian screenwriter Walter Reisch’s (1903‐83) career started in Austrian silent cinema and ended in Hollywood. Reisch wrote the screenplays for silent films, many of them based on musical topics (operetta films, biopics of musicians, etc.). He created the so-called Viennese film, a musical subgenre, set in an almost mythological Vienna. In my article I am analysing the characteristics of his writing in which music plays a crucial part. The article details the use of musical devices in his screenplays (his use of music, the influence of musical melodrama, instructions an
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7

Ladd, Marco. "Synchronization as Musical Labor in Italian Silent Cinemas." Journal of the American Musicological Society 75, no. 2 (2022): 273–317. http://dx.doi.org/10.1525/jams.2022.75.2.273.

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Abstract This article examines a series of lawsuits that consumed Italy’s legal establishment between approximately 1924 and 1933. Resulting from a protracted labor dispute between instrumental musicians who worked in cinemas and the exhibitors who employed them, the lawsuits turned on a question of employment law: whether musicians ought to be considered full-time employees—entitled to various benefits and protections against unfair termination—or more precariously situated freelancers whom exhibitors could hire and fire at will. As a consequence of the vagaries of existing Italian labor law
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8

Gayle Magee. "Editor's Introduction: Special Issue on Silent Film Music." American Music 36, no. 1 (2018): 1. http://dx.doi.org/10.5406/americanmusic.36.1.0001.

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9

SIMONSON, MARY. "Visualizing Music in the Silent Era: The Collaborative Experiments of Visual Symphony Productions." Journal of the Society for American Music 12, no. 1 (2018): 2–36. http://dx.doi.org/10.1017/s1752196317000505.

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AbstractIn July 1922, the New York Times reported that the “encouraging little film” Danse Macabre was screening at the Rialto Theater in New York City. Directed by filmmaker Dudley Murphy, it starred dancers Adolph Bolm and Ruth Page in a visual interpretation of Saint-Saëns's Danse Macabre that synchronized perfectly with live performances of the composition. While film scholars have occasionally cited Danse Macabre and Murphy's other shorts from this period as examples of early avant-garde filmmaking in the United States, discussions of the films are mired in misunderstanding. In this artic
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10

Grover-Friedlander, Michal. "‘The phantom of the Opera’: the lost voice of opera in silent film." Cambridge Opera Journal 11, no. 2 (1999): 179–92. http://dx.doi.org/10.1017/s0954586700005000.

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Film's attraction to opera began not with the technical possibility of synchronising the operatic voice with the image, but earlier, in the silent era. In the New York Times of 27 August 1910 Thomas Edison declared: ‘We'll be ready for the moving picture shows in a couple of months, but I'm not satisfied with that. I want to give grand opera.’ What did silent film seek in opera? Would a silent film of or about opera have any meaning? What are the possibilities for silent opera? How would a mute operatic voice appear in film?
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