![]() In the 1910s, publications of music expressly for film accompaniment began to proliferate, offering what is called genre music or mood music for actions, events, and emotions commonly found in film scenarios. ![]() Music for accompanying films initially came from vaudeville music libraries, popular song, pre-existing art music, and original compositions, only some of which were committed to paper. This volume of “Infernal and Presto Music” from Belwin contains four pieces for use in the cinema.Īs Richard Abel, Rick Altman, Julie Hubbert, Martin Marks, and other scholars of silent film sound have documented, there were no standardized practices for supplying music for films. After an early argument about whether motion pictures should have musical or other sonic accompaniment was settled by the overwhelmingly positive calls for music and sound by critics, audiences, and performers, new musical industries sprung up to serve the needs of cinemas and motion picture production houses. Of these, only about twenty-five percent survive in some form today. In his 2013 report on the state of silent film preservation, David Pierce estimates that American filmmakers made nearly 11,000 silent feature films-a feature being define as any film that is four or more reels long-between 19. Although we commonly call the films made between 18 “silent,” these works were almost universally accompanied by music and/or sound.
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