Abstract
Paraphrasing the title of Friedrich Nietzsche’s famous book The Birth of Tragedy from the Spirit of Music has been tempting enough to call an introduction to a book about silent cinema music ‘The Birth of Cinema from the Spirit of Music’. Music’s ability to attract broad and varied audiences, to evoke emotions and to fulfill narrative and structural functions in combination with fictional art forms such as opera and operetta was heavily utilized by the young medium of film. Cinema’s special relationship with music had started even before moving images were invented in the early 1890s. Illustrated songs were, at least in the US, a precursor of cinema, insofar as this format helped define the relationship between narrative visual elements and music.’ Some early films were barely more than technically updated versions of illustrated songs.2 In fact, music as a cultural practice entertained a crucial relationship with silent film on structural and narrative levels: in cinema’s history, the strategies of combining dramatic scenes with music were drawn from prior and contemporaneous media and art forms. This precise convergence of media practices constituted a large part of the attraction for contemporary audiences. Seen in this light, cinema is much more dependent on music and musical formats than is generally acknowledged and this volume aims to address that perspective.
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Notes
For comprehensive studies on the illustrated song tradition, see Richard Abel, ‘That Most American of Attractions, the Illustrated Song’, in Abel, Richard and Rick Altman (eds.) The Sounds of Early Cinema (Bloomington: Indiana University Press, 2001): 143–155;
Richard Abel, ‘A “Forgotten” Part of the Program: Illustrated Songs’, in Richard Abel (ed.) Americanizing the Movies and ‘Movie-Mad’ Audiences, 1910–1914 (Berkeley: University of California Press, 2006): 127–138; and
Rick Altman, Silent Film Sound (New York: Columbia University Press, 2004): 107, 462.
Rick Altman (ed.) Sound Theory, Sound Practice (London, New York: Routledge, 1992): 114f.
Among the most significant studies on the subject for the North American context are Altman, Silent Film Sound; Martin M. Marks, Music and the Silent Film (New York/Oxford: Oxford University Press, 1997) and
Gillian Anderson, Music for Silent Films, 1894–1929: A Guide (Washington, DC: Library of Congress, 1988).
See Michael Wedel, Der deutsche Musikfilm (Munich: Edition Text + Kritik, 2007) and
Martin Loiperdinger, ‘German Tonbilder of the 1900s: Advanced Technology and National Brand’, in Klaus Kreimeier and Annemone Ligensa (eds.) Film 1900: Technology, Perception, Culture (Herts: John Libbey Publishing, 2009): 187–199. See also the online publication of the Kiel Society for Film Music Research (http://www.filmmusik.uni-kiel.de/beitraege.php).
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© 2014 Claus Tieber and Anna K. Windisch
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Tieber, C., Windisch, A.K. (2014). Introduction: ‘The Birth of Cinema from the Spirit of Music’. In: Tieber, C., Windisch, A.K. (eds) The Sounds of Silent Films. Palgrave Studies in Audio-Visual Culture. Palgrave Macmillan, London. https://doi.org/10.1057/9781137410726_1
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DOI: https://doi.org/10.1057/9781137410726_1
Publisher Name: Palgrave Macmillan, London
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