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Journal articles on the topic 'Music for silent film'

Author: Grafiati

Published: 9 March 2023

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1

Tieber, Claus, and Anna K. Windisch. "A highly creative endeavour: Interview with musicologist and silent film pianist Martin Marks." Soundtrack 12, no. 1 (November 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 examples from his practical work and based on both his scholarly knowledge and on his musical intelligence. He talks about the use of pre-existing music as well as about anachronisms in choosing music written many decades after a film was first released. In sum, this interview delivers detailed and informed insights into the difficulties and pleasures of accompanying musical numbers or other types of diegetic music in silent cinema.

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2

Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (November 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 chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and succeeded in ‘visualizing’ music and musical performances in the so-called ‘silent’ films. In reconstructing their problems and analysing their solutions, we are able to gain a deeper understanding of the nature of musical numbers during the silent era and on a more general level.

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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 (December 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 handwritten notes, original cue sheet compiled by James Bradford for the Paramount Pictures, and a digitised copy of the film, have led to conclusions that are applicable not only to Mirskey's methods of compiling scores, but also to the more general rules for the development of musical accompaniments to silent films in the 1920s.

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Cieślak, Agnieszka. "Bronisław Mirski - Polish Music Director of the Silent Film Era1." Musicology Today 17, no. 1 (December 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 Theatre of Harry M. Crandall's chain in Washington, D.C. Based primarily on the American press of 1921–23, this article discusses Mirski's work methods and his involvement in improving the quality of live musical accompaniment for silent films. The work that he continued till the end of his life places him among the foremost musicians of the silent film era.

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6

Tieber, Claus. "Walter Reisch: The musical writer." Journal of Screenwriting 10, no. 3 (September 1, 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 and use of songs and leitmotifs). The article closes with a reading of the final number in the last film he was able to make in Austria: Silhouetten (1936).

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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 and new Fascist legislation governing labor relations, musicians were already at a disadvantage in this dispute. Unexpectedly, their situation was further undermined by the judiciary, as Italy’s highest court made their employee status conditional on the perceived aesthetic value of cinema and its associated music making. That is, musicians had to prove that their musical abilities were integral to the artistic outcome of any given film screening—a tall order in the context of silent cinematic exhibition, where musical accompaniment was materially distinct from the projected film. Precisely because the courts valorized the fusion of music and image, however, the Italian musicians’ lawsuits illuminate a fundamental parameter of cinematic aesthetics—synchronization—and reveal something significant about the nature of film music. Public recognition for effecting music-image synchronization in film conferred symbolic, but also literal, capital; thus I contend that synchronization ought to be understood as a form of musical labor, both in the silent era and beyond.

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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 (January 25, 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 article, I use advertisements, reviews, and other archival materials to trace the production, exhibition, and reception of Murphy's Visual Symphony project. These films, I argue, were not Murphy's alone: rather, they were a collaborative endeavor guided as heavily by musician and film exhibitor Hugo Riesenfeld as by Murphy himself. Recast in this way, the Visual Symphony project highlights evolving approaches to sound–image synchronization in the 1920s, the centrality of theater conductors and musicians to filmmaking in this period, and the various ways in which filmmakers, performers, and exhibitors conceptualized the relationship between music and film, and the live and the mediated, in the final decade of the silent era.

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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 (July 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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11

PLATTE, NATHAN. "BeforeKongWas King: Competing Methods in Hollywood Underscore." Journal of the Society for American Music 8, no. 3 (August 2014): 311–37. http://dx.doi.org/10.1017/s1752196314000224.

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AbstractIn many histories of American film music, Max Steiner's score forKing Kong(1933) marks a new era by establishing norms in original, symphonic underscoring that would dominate Hollywood for decades.Kong's reign, however, eclipses diverse approaches to underscoring practiced at studios before and after its release. In this study, I compare the methods of Max Steiner at RKO and Nathaniel Finston at Paramount to show how both influenced film music implementation and discourse in the years leading up toKong. Steeped in the practices of silent cinema, Finston championed collaborative scoring and the use of preexistent music in films likeFighting Caravans(1931). Steiner preferred to compose alone and placed music strategically to delineate narrative space in films, as inSymphony of Six Million(1932), a technique he adapted for mediating exotic encounters in island adventure films precedingKong. Although press accounts and production materials show that Steiner and Finston's methods proved resilient in subsequent years,Kong's canonic status has marginalized Finston's role and threatens to misdirect appraisals of Steiner's other work. Considering Finston's practices at Paramount alongside Steiner's pre-Kongscores at RKO illuminates the limitations of using onlyKongas a model, and shows that Finston's perspective on film scoring in the early 1930s provides a corrective balance for understanding film musicians’ work before and afterKong.

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12

Fuchs. "Hermann Kretzschmar's Forgotten Heirs: “Silent”-Film Music as Applied Hermeneutics." Music and the Moving Image 12, no. 3 (2019): 1. http://dx.doi.org/10.5406/musimoviimag.12.3.0003.

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13

Rosar, William H. "Theme Songs without Words." Journal of Film Music 9, no. 1-2 (February 24, 2022): 8–22. http://dx.doi.org/10.1558/jfm.21422.

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When Max Steiner arrived at RKO Studios in late December 1929, he came as a seasoned Broadway conductor and arranger to work on musicals. Applying the art and craft of song arranging from musical comedies on the Broadway stage to so-called “theme songs” that were sung in dramatic films in the early talkies, he developed what came to be known as “the big theme” in Hollywood Golden Age film scoring parlance in which a song-like theme was featured instrumentally as background music rather than sung on screen. In conjunction with this practice, Steiner and his Hollywood cohorts continued and adapted the existing dramatic techniques of silent film accompaniment to “talking pictures,” which, because of music playing under dialog, was given the name “underscoring.”

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14

Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (January 28, 2020): 13. http://dx.doi.org/10.3390/arts9010013.

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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instructions and motivations for diegetic musical performances. However, not only music itself, but also music as a subject matter can be found in these screenplays, as part of the dialogue or instructions for the mis-en-scène. The work of Austrian screenwriter and director Walter Reisch (1903–1983) will serve as a case study to discuss various forms of self-reflexivity in the context of genre studies, screenwriting studies and the early sound film. Different forms and categories of self-referential uses of music in Reisch’s work will be examined and contextualized within early sound cinema in Austria and Germany in the 1930s. The results of this investigation suggest that Reisch’s early screenplays demonstrate that the amount of self-reflexivity in early Austro-German music films is closely connected to music. Self-referential devices were closely connected to generic conventions during the formative years and particularly highlight characteristics of Reisch’s writing style. The relatively early emergence of self-reflexive and “self-conscious” moments of music in film already during the silent period provides a perfect starting point to advance discussions about the musical discourse in film, as well as the role and functions of screenplays and screenwriters in this context.

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15

Brooks, Erin M. "Silent Film Sound & Music Archive: A Digital Repository. https://www.sfsma.org." Journal of the Society for American Music 14, no. 4 (November 2020): 522–24. http://dx.doi.org/10.1017/s1752196320000395.

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16

Porter, Laraine. "Women Musicians in British Silent Cinema Prior to 1930." Journal of British Cinema and Television 10, no. 3 (July 2013): 563–83. http://dx.doi.org/10.3366/jbctv.2013.0158.

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Referencing a range of sources from personal testimonies, diaries, trade union reports and local cinema studies, this chapter unearths the history of women musicians who played to silent film. It traces the pre-history of their entry into the cinema business through the cultures of Edwardian female musicianship that had created a sizeable number of women piano and violin teachers who were able to fill the rapid demand created by newly built cinemas around 1910. This demand was further increased during the First World War as male musicians were called to the Front and the chapter documents the backlash from within the industry against women who stepped in to fill vacant roles. The chapter argues that women were central to creating the emerging art-form of cinema musicianship and shaping the repertoire of cinema music during the first three decades of the twentieth century. With the coming of sound, those women who had learned the cinema organ, in the face of considerable snobbery, were also well placed to continue musical careers in Cine-Variety during the 1930s and beyond. This article looks particularly at the careers of Ena Baga and Florence de Jong who went on to play for silent films until the 1980s.

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17

Wright, H. Stephen, and Martin Miller Marks. "Music in the Silent Film: Contexts and Case Studies, 1895-1924." Notes 55, no. 1 (September 1998): 118. http://dx.doi.org/10.2307/900371.

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18

ROUST, COLIN. "‘Say it with Georges Auric’: Film Music and the esprit nouveau." Twentieth-Century Music 6, no. 2 (September 2009): 133–53. http://dx.doi.org/10.1017/s1478572210000149.

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AbstractAlthough he composed more than 120 film scores during his career, Georges Auric (1899–1983) did not compose his first until well after his thirtieth birthday. However, as a disciple of Guillaume Apollinaire's esprit nouveau he was interested in the genre much earlier. Between 1919 and 1928 he published three pieces of film music criticism that are couched in the rhetoric of Apollinaire and Jean Cocteau. In 1931 he composed his second film score, for René Clair's 1931 film A Nous, la Liberté! Although the music was composed after the esprit nouveau movement had effectively faded away, it is one of the clearest examples of that aesthetic. Because of the extraordinary collaborative relationship between Clair and Auric, the film also presents one of the most striking early solutions to the problem of how sound could be incorporated into the artistic rhetoric of silent cinema.

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19

Knight, A. "Silent Screen, Live Sounds: A Symposium on Music and Silent Film, University of Chicago, 6 February 1993." Screen 34, no. 3 (September 1, 1993): 287–89. http://dx.doi.org/10.1093/screen/34.3.287.

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20

Graff, Peter. "Re-Evaluating the Silent-Film Music Holdings at the Library of Congress." Notes 73, no. 1 (2016): 33–76. http://dx.doi.org/10.1353/not.2016.0099.

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21

Tieber, Claus. "Music and Sound in Silent Film: From the Nickelodeon to The Artist." Historical Journal of Film, Radio and Television 39, no. 4 (July 22, 2019): 906–8. http://dx.doi.org/10.1080/01439685.2019.1643156.

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22

Sarkisyan, S. K. "The Musical Phenomenon in the Films of Sergey Parajanov." Critique and Semiotics 37, no. 2 (2019): 64–77. http://dx.doi.org/10.25205/2307-1737-2019-2-64-77.

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Music and cinema are two arts that have shown the most varied synthesis on semiotic and phenomenological levels during their century-old history. The permeation of these two arts has given birth to a substantially new form of their existence. That is the reason that the films and the complete creation of Sergey Parajanov are somehow situated in between these arts, between the plasticity of the cinema and the expressiveexpressiveness of the silent film. The overflowing of characteristics from one art to another does not occur to the detriment of the genre category of this particular art; in other words, the film does not cease to be film, nor is this the case with music. It would be more precise to confirm just the opposite: the permeation of the characteristics between the arts enriches each individual art, because the associative degree is augmented. This circumstance influences the perception of these arts, especially of the cinema. It acquires the capacity to actively influence the spectator, seemingly evading its basic visual rank. This genre of cinema refers to intellectual, sensual and subconscious incentives, forming at the same time a new type of spectator.

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23

Presseisen, Filip. "Organ accompaniment to silent films, part 2." Notes Muzyczny 1, no. 15 (June 22, 2021): 57–66. http://dx.doi.org/10.5604/01.3001.0014.9690.

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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the second part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the process of adding sound to silent films, creating publications containing the so-called genre music (i.e., music for specific tyles of scenes), as well as cue-sheets which appeared since 1909 and which were particularly useful for improvising pianists and organists. It also describes the practice of orchestra accompaniment and different sizes of lineups connected with it.

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24

Cooper, Ed. "THE STRONG SILENT TYPE: MASCULINITY AND WANDELWEISER MUSIC." Tempo 75, no. 296 (March 10, 2021): 21–33. http://dx.doi.org/10.1017/s0040298220000923.

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AbstractMasculinity is not just about being the loudest; it is a contradictory network of relationships relating to power, control and work. Deploying the methodology first developed in Raewyn Connell's Masculinities (1995), this article argues that Wandelweiser works exhibit masculine social ordering. Silence presents apparent creative agency which is ultimately governed by the composer; fragile timbres strain the bodies of both the performers and listeners and encourage constant labour; openness displaces authorship, leaving interpreters to fill a composer-shaped hole. Analysis of these facets reveals a top-down power dynamic from these composers of the quiet that is integrally related to Connell's conception of hegemonic masculinity: the composer encourages reproduction and questioning of their dominant role from interpreters, which, counterintuitively, implicates their position of power. This investigation is interwoven with diary entries exposing and critiquing my own compositional process, demonstrating how masculinity is performed throughout my creative process and its subsequent documentation. This article explores how subversive, even if invisible, elements of masculinity lie within the process and product of composing instrumental music that initially may seem to counter typical ‘masculine’ musics.

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Beinroth, Carolin, and Claudia Bullerjahn. "Music in German Silent Cinema: Reception in the Film Trade Press 1907-1925." Journal of Film Music 7, no. 2 (November 24, 2017): 21–35. http://dx.doi.org/10.1558/jfm.30971.

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26

Finarno, Hannova Aji, and S. Santosa. "GARAP MUSIKAL GENDING DALAM FILM SETAN JAWA." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 19, no. 1 (September 12, 2019): 15–24. http://dx.doi.org/10.33153/keteg.v19i1.2648.

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Film Setan Jawa merupakan sebuah film bisu hitam putih yang dalam pemutaran filmnya diiringi oleh gamelan secara langung, Pertunjukan Film Setan Jawa mengangkat kisah mitologi Jawa yang diangkat dari kisah kisah nyata dari berbagai daerah. musik gamelan yang mengiringi film Setan Jawa komposer Rahayu Supanggah, dengan garap musik gamelanya yang menjiwai tiap adegan pada film Setan Jawa. Pendekatan yang digunakan adalah pendekatan musikologi.Penelitian ini tentang garap musikal gending, maka konsep yang dipakai adalah konsep-konsep musikologi karawitan Jawa. Konsep ini selain mengkaji tentang garap gending juga membahas konsep pathet, irama, bentuk dan struktur gending. Hasil penelitian ini ditemukan bahwa pada pementasan film Setan Jawa, gending-gending yang digunakan dalam mengiringi setiap adegan memiliki sajian garap yang berbeda dari penyajian adegan satu dengan yang lainnya. Setiap penyajian yang berbeda-beda tersebut mengalami perbedaan serta perubahan dalam sajian tafsir garapnya. Pemilihan gending dalam garap musikal film Setan Jawa, Supanggahmenggunakan gending-gending lama. Hal ini selain digunakan untuk menghidupkan suasana film, pemilihan gending juga disesuaikan dengan konteks dalam adegan cerita.Kata kunci: Setan Jawa, Karawitan, Garap.AbstractThe “Setan Jawa” movie is a silent black and white move that in its screenings is accompanied by a direct gamelan orchestra. “Setan Jawa” movie raised a Javanese mythological story based on true stories from various regions. The gamelan music that accompanies the movie composed by Rahayu Supanggah, with the gamelan music that animates each scene in the movie. The approach that is used is the musicology approach. This research is about working on the movie’s musical tunes (gending), the concepts used are Javanese musical concepts. Apart from studying the concept of gending, this concept also discusses the concept of pathet, rhythm, the shape and structure of gending. The results of this research found that in the staging of “Setan Jawa” movie, the music used to accompany each of the scene has a different presentation from the presentation of one scene to another. Each of these different presentations experiences differences as well as changes in the interpretation of the gending. Supanggah selected old gending for the musical work of the “Setan Jawa” movie. Apart from it, the selection of gending used to liven up the atmosphere of the film as well as adjusting it to the context in the story scene.Keywords: Setan Jawa, Karawitan, Garap.

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27

Cochran, Alfred W., and Gillian B. Anderson. "Music for Silent Films, 1894-1929: A Guide." Notes 46, no. 3 (March 1990): 636. http://dx.doi.org/10.2307/941435.

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Hunsberger, Donald, Gillian B. Anderson, and Eileen Bowser. "Music for Silent Films 1894-1929: A Guide." American Music 11, no. 2 (1993): 254. http://dx.doi.org/10.2307/3052559.

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Jain, Rupali. "CLASSICAL EXPERIMENTS IN CINE MUSIC: IN THE CONTEXT OF ASAVARI THAT." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3431.

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We should consider the beginning of film music with the advent of speaking films. In the era of silent films, there used to be an orchestra near the screen in big cities, playing music suited to the changing emotions of the on-screen story, but the lyrics also came as an integral part of the film along with the speaking films and musicians Also has a separate identity. So the first cine music and its composer, we will consider Feroz Shah Mistry, the composer of the first speaking film "Alamara", released on 14 March 1931 at the Majestic Cinema in Mumbai and the first cine song "De De Khuda Ke Naam Pe Pyare". , There is strength to give away, if you want something, if you ask me, you will have the courage to accept it. The singer of this song, the actor of the same film, WM. It was Khan, who sang it in the character of Fakir. The song was composed with a tabla and a harmonium, but unfortunately it could not be recorded, the songs of the ragas in the film also came from the same film, which was sung by Munni Bai, "Apne Maula Ki Main Jogan" Banungi ", the song was based on the raga" Bhairavi ". फिल्म संगीत का आरंभ हमें बोलती फिल्मों के आगमन से ही मानना चाहिए। मूक फिल्मों के दौर में बड़े शहरों में स्क्रीन के पास एक आॅरकेस्ट्रा रहा करता था, जो परदे पर चल रही कहानी के बदलते भावों के अनुकूल संगीत बजाया करता था, पर बोलती फ़िल्मों के साथ गीत-संगीत भी फ़िल्म का अंतरंग हिस्सा बनकर आए और संगीतकार की भी एक अलग पहचान बनी। अतः प्रथम सिने संगीत और उसका संगीतकार हम 14 मार्च, 1931 को मुंबई के मैजेस्टिक सिनेमा में रिलीज प्रथम बोलती फिल्म ’’आलमआरा’’ के संगीतकार फिरोज शाह मिस्त्री को ही मानेंगे तथा पहला सिने गीत ’’दे दे खुदा के नाम पे प्यारे’’, ताकत है गर देने की, कुछ चाहे तो अगर माँग ले मुझसे, हिम्मत हो गर लेने की ’’ को मानेंगे। इस गीत के गायक इसी फिल्म के अभिनेता डब्ल्यू.एम. खान थे, जिन्होंने इसे फ़कीर के किरदार मंे गाया था। इस गीत को मात्र तबले और एक हारमोनियम के साथ सृजित किया गया था, किंतु दुर्भाग्यवश इसका रिकार्ड नहीं बन सका, फिल्म में रागों पर आधारित गीतों का चलन भी इसी फिल्म से आया, जिसमें मुन्नी बाई का गाया, ’’अपने मौला की मैं जोगन बनूँगी ’’, यह गीत राग ’’भैरवी’’ पर आधारित था।

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LEWIS, HANNAH. "“The Realm of Serious Art”: Henry Hadley's Involvement in Early Sound Film." Journal of the Society for American Music 8, no. 3 (August 2014): 285–310. http://dx.doi.org/10.1017/s1752196314000212.

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AbstractComposer-conductor Henry Kimball Hadley (1871–1937) is widely viewed as a conservative musical figure, one who resisted radical changes as American musical modernism began to flourish. His compositional style remained firmly rooted in late-Romantic European idioms; and although Hadley advocated for American composition through programming choices as a conductor, he mostly ignored the music of younger, adventurous composers. In one respect, however, Hadley was part of the cutting edge of musical production: that of musical dissemination through new media. This essay explores Hadley's work conducting and composing film music during the transition from silent to synchronized sound film, specifically his involvement with Warner Bros. and their new sound synchronization technology, Vitaphone, in 1926–27. Drawing on archival evidence, I examine Hadley's approach to film composition for the 1927 filmWhen a Man Loves. I argue that Hadley's high-art associations conferred legitimacy upon the new technology, and in his involvement with Vitaphone he aimed to establish sound film composition as a viable outlet for serious composers. Hadley's example prompts us to reconsider the parameters through which we distinguish experimental and conservative musical practices, reconfiguring the definitions to include not just musical proclivities but also the contexts and modes through which they circulate.

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Brooks, Erin Michelle. "Sarah Bernhardt on Stage and Screen: Nineteenth-Century Theater Music and Early Silent Film." Journal of Film Music 5, no. 1-2 (April 29, 2013): 57–76. http://dx.doi.org/10.1558/jfm.v5i1-2.57.

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32

Doan, Joy M. "Music for Silent Film: A Guide to North American Resources by Kendra Preston Leonard." Notes 74, no. 3 (2018): 455–57. http://dx.doi.org/10.1353/not.2018.0020.

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33

Anderson, Tim. ": Music and the Silent Film: Contexts & Case Studies, 1895-1924 . Martin Miller Marks." Film Quarterly 52, no. 1 (October 1998): 88–89. http://dx.doi.org/10.1525/fq.1998.52.1.04a00530.

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Anderson, Gillian B. "The Presentation of Silent Films, or, Music as Anaesthesia." Journal of Musicology 5, no. 2 (1987): 257–95. http://dx.doi.org/10.2307/763853.

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Anderson, Gillian B. "The Presentation of Silent Films, or, Music as Anaesthesia." Journal of Musicology 5, no. 2 (April 1987): 257–95. http://dx.doi.org/10.1525/jm.1987.5.2.03a00050.

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36

O'Rawe, Des. "Plays and Fragments: Antigone, Film, Modernity." Modernist Cultures 17, no. 1 (February 2022): 1–26. http://dx.doi.org/10.3366/mod.2022.0357.

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Within the history of modernity, the tragic shape and ethical concerns of the Antigone myth have made it a touchstone for understanding contemporary cultural and political realities. This essay traces the modernist processes of adaptation, citation, displacement, and revision that have often characterised the relations between filmmakers and this phenomenon. Focussing in particular on those films that subvert the authority of narrative realism and the laws of conventional – ‘classical’ – film language, it traces how particular social contexts and commitments have inevitably constructed different images of Antigone – how the Antigones that emerge in early or ‘silent’ cinema, for example, compare with those from other film and media forms, including television, video and installation art works.

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Kershaw, David, and Theodore van Houten. "Silent Cinema Music in the Netherlands: The Eyl/Van Houten Collection of Film and Cinema Music in the Nederlands Filmmuseum." Notes 51, no. 1 (September 1994): 154. http://dx.doi.org/10.2307/899211.

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38

Davis, Blair. "Old Films, New Sounds: Screening Silent Cinema with Electronic Music." Canadian Journal of Film Studies 17, no. 2 (October 2008): 77–98. http://dx.doi.org/10.3138/cjfs.17.2.77.

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39

Fuchs, Sarah. "Animating Antiquity in the Vision animée." Cambridge Opera Journal 30, no. 2-3 (November 2018): 115–37. http://dx.doi.org/10.1017/s095458671900003x.

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AbstractIn 1900, the soprano Jeanne Hatto recorded a scene from Gluck's 1779 opera Iphigénie en Tauride for the Phono-Cinéma-Théâtre, an exhibit at the Paris Exposition Universelle that screened silent films manually synchronised with cylinder recordings. Recently restored and digitised by the Cinémathèque Française and the Gaumont Pathé Archives, Hatto's film affords us a glimpse into the revitalising force ascribed to female performers around the turn of the century: the ability to bring ancient statues – and antiquity itself – to life through physical movement. Through their embodiment of ancient Greek figures on stage and in visions animées, prima donnas laid claim to a form of corporeal authority that had all but disappeared from the French stage over the preceding century.

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Donnelly, K. J. "Music cultizing film: KTL and the new silents." New Review of Film and Television Studies 13, no. 1 (December 24, 2014): 31–44. http://dx.doi.org/10.1080/17400309.2014.989019.

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PAPAETI, ANNA. "The Songs of Fire (1975): Sonic Narratives of Resistance and Collective Memory." Twentieth-Century Music 20, no. 1 (February 2023): 6–22. http://dx.doi.org/10.1017/s1478572222000482.

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AbstractThis article focuses on the documentary The Songs of Fire by Nikos Koundouros (1975). Shot immediately after the fall of the military dictatorship (1967–74) in Greece, it exhumes the elation of three public concerts and demonstrations, capturing the enthusiasm for the return to democracy expressed through singing and chanting. The article focuses on the ways in which popular songs became the vehicles of the popular demand for democracy during the early transition to democracy. It shows how the film was crucial in establishing a narrative of resistance in collective memory that was centred on singing and listening, investigating the ways in which this sonic narrative, performed collectively and publicly, also betrays a latent reaction to a brutal regime fought by the few. It argues that collective singing seems to merge in memory with the ‘singing resistance’ performed individually and in secret during the dictatorship. Extended back in time, this sonic narrative registers an unconscious desire to repress the fact that large parts of society had remained silent during the regime's seven-year rule.

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Anderson, Tim. "Review: Music and the Silent Film: Contexts & Case Studies, 1895-1924 by Martin Miller Marks." Film Quarterly 52, no. 1 (1998): 88–89. http://dx.doi.org/10.2307/1213404.

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43

Knussen, Oliver. "In Search of ‘Grohg’." Tempo, no. 189 (June 1994): 6–7. http://dx.doi.org/10.1017/s0040298200003429.

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I first encountered the name of Grohg some 25 years ago on the sleeve of Morton Gould's marvellous Chicago Symphony recording of Aaron Copland's Dance Symphony of 1929. Copland had hastily extracted this score from an unperformed ballet (written in Paris in 1922–5) in order to enter a major competition organized by RCA Victor records, when he realized that he would be unable to complete the planned Symphonic Ode in time for the deadline. I found this music very attractive indeed – amusingly Ballets Russes-ian to be sure but, in the precision and transparency of its sound-world, very characteristic of its author and not at all suggestive of a first attempt at orchestration (Grohg pre-dates the Organ Symphony, which was the first orchestral music of his own that Copland actually heard). I was also intrigued by the idea of a ballet that had been suggested by F. W. Murnau's classic silent horror film Nosferatu (1922).

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Presseisen, Filip. "Organ accompaniment in silent films, part 1 – the process of cinematic art creation." Notes Muzyczny 2, no. 14 (December 10, 2020): 59–72. http://dx.doi.org/10.5604/01.3001.0014.5748.

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The idea to write music for silent films, both in a form of written-down scores and composed live has experienced its renaissance for more than ten years. Thanks to a quite decent number of preserved theatre instruments and also due to the globalisation and wide data flow options connected with it, the knowledge and interest in Anglo-Saxon tradition of organ accompaniment in cinema were able to spread away from its place of origin. The article is the first part of four attempts to present the phenomenon of combination of the art of organ improvisation with cinematography and it was based on the fragments of the doctoral thesis entitled “Current methods of organ improvisation as performance means in the accompaniment for silent films based on the selected musical and visual work”. The dissertation was written under the supervision of prof. dr hab. Elżbieta Karolak and was defended at the Ignacy Jan Paderewski Academy of Music in Poznań in 2020. The article touches on the initial phase of the development of silent cinema from 1895 to 1909. Having differentiated the terms of typical organ improvisation and the art of improvisation for silent films, the article describes the development of cinema art. From the praxinoscope invented by Émile Reynaud, through the cinematograph and the Kinetoscope (Dickson), Vitascope (Jenkins and Armat) and Bioscop (Skladanowsky brothers), it finally discusses the process how the Lumière brothers invented the cinematograph. It its further part, it presents the development of cinematography based on the improvements in theatre introduced by Méliès. The whole text serves as a basis for more parts of the article touching on the issues of the sound added to silent films and the creation of the theatre type of the pipe organ.

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Cowen, Paul S. "Visual Memory, Verbal Schemas, and Film Comprehension." Empirical Studies of the Arts 10, no. 1 (January 1992): 33–55. http://dx.doi.org/10.2190/cqph-7d5l-3475-0yvw.

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An ambiguous silent film was viewed either by itself or with an improbable but plausible verbal synopsis presented either before or after the film. In general, the verbal synopsis significantly influenced inferences made one hour later, but there was an interaction between visualization ability and the order in which the synopsis and film were presented. Visualization ability significantly decreased biased inferences when the film was seen first, but significantly increased this bias when the synopsis preceded the film. Greater synopsis influence was also associated with greater comprehensibility of the film. Visualization ability significantly affected recognition of “hits” while presenting the synopsis after the film increased the rate of false alarms. Results suggest that individual differences in visual ability and conflict between visual and verbal information should be considered when generalizing about encoding, retrieval, and story comprehension using visual media. Implications for media influences, film study and the use of film/video in other settings are also discussed.

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Mikheeva, Julia V. "Sound in the films of Michael Haneke from the perspective of phenomenological aesthetics." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 116–27. http://dx.doi.org/10.17816/vgik113116-127.

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The philosophical and aesthetic ideas of phenomenology have been present in cinema theory since the silent period. Methods of phenomenological theory can be found in the analysis of the visual aspects of films or the artistic style of their authors. The essay analyses signs of phenomenological thinking in the audiovisual aspects of films - a little studied but significant area of directorial aesthetics. Its theoretical and methodological foundation includes the phenomenology of Edmund Husserl and elements of phenomenological aesthetics in the works of Maurice Merleau-Ponty and Roman Ingarden. Taking the work of a significant representative of auteur cinema, the Austrian director Michael Haneke, the author explores cinematic variations of the concept of phenomenological reduction, the method of perfectly clear apprehension of the essence and the layered semantic structure of the film. Conclusions are drawn about the presence of typological signs of phenomenological thinking in the work of other filmmakers, such as Robert Bresson and Jean-Pierre and Luc Dardenne. Visually, this presence is expressed in the tendency towards asceticism and documentarism in the choice of artistic devices; towards the disclosure of cinematic phenomena (facts); and aurally, in the tendency to minimize off-screen music and get rid of the expressiveness in the actor's speech, towards greater semantic significance of intra-frame music, individual sounds, pauses and non-sounds.

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47

Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/triplec.v12i1.511.

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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.

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48

Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (March 21, 2014): 277–85. http://dx.doi.org/10.31269/vol12iss1pp277-285.

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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.

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Platonova, O. A. "Electroacoustic Experiments of the Art Zoyd and Their Implementation in Soundtracks for Silent Films." Art & Culture Studies, no. 2 (June 2021): 230–51. http://dx.doi.org/10.51678/2226-0072-2021-2-230-251.

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The article is devoted to the work of Art Zoyd, a French group whose experimental style is often defined by modern researchers as “la musique nouvelle” (from the French — “new music”) and is viewed through the prism of the genre-style dialogue between rock and contemporary academic music. The idea of “metamusic”, expressed in the co-creation of several composers, as well as in the unity of visual, plastic, and musical components, is also important for understanding the style of the group. This trend is especially closely related to the personality of one of the founders of the group, Gerard Hourbette, who combines the gift of a composer with the talent of a programmer. The obvious reliance on the achievements of electroacoustic music, the desire to combine the scientific understanding of the phenomenon of sound with the implementation of practical musical projects (expressed in the creation of the research and creative center Art Zoyd Studios), make him related to the figure of the pioneer of musique concrète and the founding father of Groupe de Recherches Musicales, Pierre Schaeffer. The idea of the synthesis of the arts is reflected in the innovative multimedia performances of the group, as well as in the soundtracks to silent films. The article analyzes the sound scores for the films Nosferatu by Friedrich Murnau, Häxan by Benjamin Christensen, The Fall of the House of Usher by Jean Epstein.

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Torres-Cacoullos, Anna. "Alexandra Ksenofontova, The Modernist Screenplay: Experimental Writing for Silent Film." Modernist Cultures 17, no. 2 (May 2022): 290–95. http://dx.doi.org/10.3366/mod.2022.0372.

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