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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 (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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11

PLATTE, NATHAN. "BeforeKongWas King: Competing Methods in Hollywood Underscore." Journal of the Society for American Music 8, no. 3 (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

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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 (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 adapt

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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 (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 instr

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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 (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 (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

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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 (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 (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, i

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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 (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 (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 oth

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23

Presseisen, Filip. "Organ accompaniment to silent films, part 2." Notes Muzyczny 1, no. 15 (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 t

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24

Cooper, Ed. "THE STRONG SILENT TYPE: MASCULINITY AND WANDELWEISER MUSIC." Tempo 75, no. 296 (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 face

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25

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 (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 (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 g

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27

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

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28

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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29

Jain, Rupali. "CLASSICAL EXPERIMENTS IN CINE MUSIC: IN THE CONTEXT OF ASAVARI THAT." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (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

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30

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 (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 wo

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31

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 (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 (1998): 88–89. http://dx.doi.org/10.1525/fq.1998.52.1.04a00530.

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34

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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35

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/10.1525/jm.1987.5.2.03a00050.

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36

O'Rawe, Des. "Plays and Fragments: Antigone, Film, Modernity." Modernist Cultures 17, no. 1 (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 differe

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37

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 (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 (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 (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 a

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40

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

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41

PAPAETI, ANNA. "The Songs of Fire (1975): Sonic Narratives of Resistance and Collective Memory." Twentieth-Century Music 20, no. 1 (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 cent

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42

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 characteri

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44

Presseisen, Filip. "Organ accompaniment in silent films, part 1 – the process of cinematic art creation." Notes Muzyczny 2, no. 14 (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 th

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45

Cowen, Paul S. "Visual Memory, Verbal Schemas, and Film Comprehension." Empirical Studies of the Arts 10, no. 1 (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 comprehensibil

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46

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 (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.

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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 (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 ‘Bolly

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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 (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 ‘Bolly

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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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Abstract:

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 Ho

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

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