![]() ![]() The Edison Film Company was among the first to use this method of scoring film. This concept of a "compilation score" was invented around 1910. The studio would hire a company to produce a cue sheet generally three to four pages of listings of photoplay music, classical or popular standards from their library. ![]() Of those that responded to the survey, approximately 50% used theater organs, 25% used piano only, and 25% used orchestras (two or more players).įor those using orchestras, improvisation was difficult and a compiled score was preferred. The musical conductor played whatever he felt necessary to set the mood for the scene.Īccording to Richard Koszarski's book "An Evening's Entertainment", a survey was sent out in the mid-1920s to 10,000 out of about 15,000 theaters in America. Improvised scores were solely played on organ or piano. When it comes to producing a film score for a silent film, there were three types: improvised, compiled, and original. Composers noted for their photoplay music include John Stepan Zamecnik and Gaston Borch. ![]() A version of this theme is contrasted with a hero's theme ( Play ( help ![]() Bodewalt Lampe and whose main motif has endured as a cliche for stealth and villainy in a wide selection of music and films thereafter. One example of such a piece is Mysterioso Pizzicato, which appeared in a 1914 photoplay music collection compiled by J. These were only a minute or so long and could not sustain an entire feature, but were used to fill in scenes where music was not popularly written (such as "misteriosos" for scenes of mystery, etc.). 1890-1910) merely relied on classical and popular repertory, mixed usually with improvisation by whatever accompanist was playing (usually a pianist).Īround 1910, folios of photoplay music began being published by companies such as Sam Fox Music and Academic Music. ![]()
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