Accustomed though we are to speaking of the films made before 1927 assilent, the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film.
As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before they were to be shown , the musical arrangement was normally improvised in the greatest hurry.
To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as pleasant, sad, lively. The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next.
Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D.W Griffiths film Birth of a Nation, which was released in 1915.
解析雅思阅读选择题
解析雅思阅读分层五原则
解析雅思阅读被动语态的几种特殊用法
雅思阅读中文章隔断的选项标志词
解析雅思阅读超级杀手题的题型特点
解答雅思阅读题之三步走
提高雅思阅读水平:三个重点需要关注
如何把罗森塔尔效应运用在雅思阅读中
雅思阅读常见的必备短语(三)
解析雅思阅读非谓语动词的主要类型
解析雅思阅读是非题
解析雅思阅读Headings题
浅析雅思阅读词汇和句子
雅思阅读常见的必备短语(四)
12条非常实用雅思阅读技巧
解析雅思阅读中的倒装形式
攻克雅思阅读中的单词和长句
分享第一次做雅思阅读的四大体会
雅思阅读中的长句阅读技巧:主动阅读法
雅思阅读:NOT GIVEN题型的八大考点
浅析雅思阅读的黄金法则
雅思阅读循序渐进的实力提升策略
浅析雅思阅读T/F/NG和Y/N/NG题
雅思阅读:最折磨人的长难句
解析雅思阅读True/False/Not Given题
雅思阅读常见的必备短语(二)
浅析话语分析在雅思阅读中的作用
实用镜像法巧解雅思阅读判断题
解析雅思阅读中的几种省略现象
解析雅思阅读强调句的三种体现
| 不限 |
| 英语教案 |
| 英语课件 |
| 英语试题 |
| 不限 |
| 不限 |
| 上册 |
| 下册 |
| 不限 |