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General", "type": 1 }, { "tag": "Griffith, David Wark (D.W.) -- works, directing -- selection of musical accompaniment", "type": 1 }, { "tag": "Riesenfeld, Hugo -- performances -- conducting of overtures to silent films", "type": 1 }, { "tag": "accompaniment -- silent film", "type": 1 }, { "tag": "directors, producers, etc. -- Griffith, D.W.", "type": 1 }, { "tag": "film music and television music -- silent film", "type": 1 }, { "tag": "performers--conducting -- Riesenfeld, H.", "type": 1 } ], "collections": [ "5CUN5QHV", "JIK3MEEM" ], "relations": { "dc:replaces": [ "http://zotero.org/groups/315867/items/ZZ2T25BX", "http://zotero.org/groups/315867/items/3HNBUR4U" ], "owl:sameAs": [ "http://zotero.org/users/13394/items/MV5I23XA", "http://zotero.org/users/13394/items/SSH8GRPA" ] }, "dateAdded": "2015-04-07T23:45:21Z", "dateModified": "2016-11-05T23:03:54Z" } }, { "key": "9WZ4Q4BP", "version": 484, "library": { "type": "group", "id": 315867, "name": "Music and Media Study Group", "links": { "alternate": { "href": "https://www.zotero.org/groups/music_and_media_study_group", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/315867/items/9WZ4Q4BP", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/music_and_media_study_group/items/9WZ4Q4BP", "type": "text/html" } }, "meta": { "createdByUser": { "id": 13394, "username": "kleonard", "name": "Kendra Leonard", "links": { "alternate": { "href": "https://www.zotero.org/kleonard", "type": "text/html" } } }, "creatorSummary": "Altman", "parsedDate": "2007-02-27", "numChildren": 2 }, "data": { "key": "9WZ4Q4BP", "version": 484, "itemType": "book", "title": "Silent Film Sound", "creators": [ { "creatorType": "author", "firstName": "Rick", "lastName": "Altman" } ], "abstractNote": "Because silent cinema is widely perceived as having been exactly that-silent-no one has fully examined how souns was used to accompany the films of this era. 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During the nickelodeon period prior to 1910, this variety reached its zenith, with theaters often deploying half a dozen competing sound strategies-from carniva-like music in the street, automatic pianos at the rear of the theater, and small orchestras in the pit to lecturers, synchronized sound systems, and voices behind the screen. During this period, musical accompaniment had not yet begun to support the story and its emotions as it would in later years. But in the 1910s, film sound acquiesced to the demands of the burgeoning cinema industry, who successfully argued that accompaniment should enhance film's narrative and emotional content rather than score points by burluesqiung or \"kidding\" the film. The large theaters and blockbuster productions of the mid-1910s provided a perfect crucible for new instruments, new music publication projects, and the development of a new style of film msuic. From that moment on, film music would become an integral part of the film rather than its adversary, and a new style of cinema sound would favor accompaniment that worked in concert with cinema story-telling. 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