دانلود کتاب Music and Sound in Silent Film: From the Nickelodeon to The Artist

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Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
About the Editors
Ruth Barton
Simon Trezise
About the Contributors
Gillian B. Anderson
Emilio Audissino
Nicholas Brown
James Buhler
Denis Condon
Malcolm Cook
Fiona Ford
Ed Hughes
Laraine Porter
Kendra Preston Leonard
Allison Wente
James Wierzbicki
Historical Introduction
Notes
Bibliography
PART I: The Evolution of Sound and Performance Practices: The American Experience
Chapter 1: ‘Better Music at Smaller Cost’: Selling Mechanical Instruments to American Motion Picture Houses in the 1910s
Labour and Capital
Value and Attraction
Conclusion
Notes
Bibliography
Chapter 2: Cue Sheets, Musical Suggestions, and Performance Practices for Hollywood Films, 1908–1927
Notes
Bibliography
Chapter 3: Sing Them Again: Audience Singing in Silent Film
Illustrated Songs and the Nickelodeon
Animated Songs
Community Singing
Sing Them Again
Conclusion
Notes
Bibliography
PART II: The Evolution of Sound and Performance
Practices: The Global Experience
Chapter 4: ‘Players Must Be of a Good Class’: Women and Concert Musicians in Irish Picture Houses, 1910–1920
Notes
Bibliography
Chapter 5: Music, Gender, and the Feminisation of British Silent Cinema, 1909–1929
Introduction: The Feminisation of the Cinema Space
Social Context
Precursors and Pioneers
Cinema Music as a Profession in Britain
Silent Cinema Music and the ‘Music Establishment’
Standardising Cinema Music
The Edwardian Summer before the Outbreak of the First World War
Young Women and Girls
The First World War and the Mobilisation of Women into Cinema Music
The 1920s and the Arrival of Jazz
The Coming of Sound and the End of It All
Conclusion
Notes
Bibliography
PART III: Synchronisation and Scoring: Historical Practices
Chapter 6: Music’s Role in the Development of the ‘Mute’ Feature Film: Ben Hur and Wings
Why an Essay on ‘Mute’ Feature Film Scores
Synopses of Ben Hur and Wings
The Music
Duration
Tempo and Implicit Synchronisations
Original and Pre-Existing Works
Themes
Expressivity
Constancy of Orchestral Texture a Unifying Feature
Comparison of Scores for Ben Hur, Wings, and The Birth of a Nation
Notes
Bibliography
Chapter 7: Edmund Meisel’s Score to Der heilige Berg (1926): Prefiguring Hollywood’s ‘Golden Age’ Narrative-Scoring Practices in Live Performance
Film and Extant Score Resources
Foreground Scoring
Background Scoring
Conclusions
Notes
Bibliography
PART IV: Synchronisation and Scoring: Contemporary Reworkings
Chapter 8: Carl Davis Interview
Notes
Chapter 9: Scenes from Ozu
Some Examples
Notes
Bibliography
Chapter 10: Rediscovering a Film, Revisiting a Film, Damaging a Film: A Musical Comparison of Three DVD Editions of Nosferatu
The 2006 F.W. Murnau-Stiftung Version
The 1997 Channel 4 Presentation
A 2003 Low-Cost Edition
Conclusions
Notes
References
Chapter 11: Electroacoustic Composition and Silent Film
Notes
References
Chapter 12: The ‘Silent’ Film in Modern Times
Examples
Conclusions
Notes
References
Index