Accustomed though we are to speaking of the films made before 1927 as silent, 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.
中国成语故事:秦士好古
中国成语故事:囫囵吞枣
转瞬即逝的名气 15 minutes of fame
中国成语故事:网开三面
中国成语故事:儒学风度
中国成语故事:磨砖成镜
网络时代的“零电视家庭”
上班路上“公交狂躁症”
重压下的“城市迷走症”
什么是“鞋跟指数”?
网络信息时代的“煎饼人”
男闺蜜 Bromeo
批评式观看 hate
中国成语故事:稀世珍琴
“裸辞”过后玩“闪辞”
不像假期的假期 fake
中国成语故事:男女有别
你的键盘上有boss key吗
中国成语故事:佝偻捕蝉
中国成语故事:破镜重圆
中国成语故事:井底有人
中国成语故事:师旷调琴
传递爱心的“待用咖啡”
同业“合作竞争”机制
富有创造精神的“黑客马拉松”
社交恶霸 social bully
职场的“蜂王综合征”
情急之下选择的“跳板工作”
衣服的“衣架魅力” hanger appeal
摩托狂人 motorpsycho
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