Silent film: Encyclopedia II - Silent film - Live music and sound

Silent film - Live music and sound

Showings of silent films almost always featured live music, starting with the pianist at the first public projection of movies by the Lumière Brothers on December 28, 1895 in Paris (Cook, 1990). From the beginning, music was recognized as essential, contributing to the atmosphere and giving the audience vital emotional cues (musicians sometimes played on film sets during shooting for similar reasons). Small town and neighborhood movie theaters usually had a pianist. From the mid-teens onward, large city theaters tended to have organists or entire orchestras. Massive theatrical organs such as the famous "mighty Wurlitzer" could simulate some orchestral sounds along with a number of sound effects.

The scores for silents were often more or less improvised early in the medium's history. Once full features became commonplace, however, music compiled from Photoplay music by the pianist, organist, orchestra conductor or the movie studio itself, which would send out a cue sheet with the film. Starting with Joseph Carl Breil's score for D.W. Griffith's groundbreaking epic The Birth of a Nation (USA, 1915) it became relatively common for films to arrive at the exhibiting theater with original, specially composed scores (Eyman, 1997).

By the height of the silent era, movies were the single largest source of employment for instrumental musicians (at least in America) and the introduction of talkies, which happened simultaneously with the onset of the Great Depression, was devastating.

Film industries in some countries devised other ways of bringing sound to silents. The early cinema of Brazil featured fitas cantatas, filmed operettas with singers lip-synching behind the screen (Parkinson, 1995, p. 69). In Japan, films had not only live music, but the benshi, a live narrator who provided commentary and character voices. The benshi became a central element in Japanese film form, as well as providing translation for foreign (mostly American) movies (Standish, 2005). Their popularity was one reason why silents persisted well into the 1930s in Japan.

Composers such as Carl Davis have specialised in writing new orchestral scores for silent classics.

Adapted from the Wikipedia article "Live music and sound", under the G.N U Free Docmentation License. Please also see http://en.wikipedia.org/wiki