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

Contents

• Introduction (Simon Trezise) / Part One: The evolution of sound and performance practices, the American experience /
• 1. 'Better Music at Smaller Cost': Selling Mechanical Instruments to American Motion Picture Houses in the 1910s (Jim Buhler and Allison Wente) /
• 2. Musical Suggestions for Hollywood Films, 1908-1927 (Kendra Preston Leonard) /
• 3. Sing them again: audience singing in silent film (Malcolm Cook) / Part Two: The evolution of sound and performance practices, the global experience /
• 4. 'Players Must Be of a Good Class': Women and Concert Musicians in Irish Picture Houses, 1910-20 (Denis Condon) /
• 5. Women musicians in the transition between silent and sound cinema (Laraine Porter)/ Part Three: Synchronisation and scoring - historical practices /
• 6. Music's Role in the Development of the 'Mute' Feature Film: Ben Hur and Wings (Gillian B. Anderson) /
• 7. Edmund Meisel's score to Der heilige Berg (1926): Prefiguring Hollywood's 'Golden Age' narrative-scoring practices in live performance (Fiona Ford) / Part Four - Synchronisation and scoring - contemporary reworkings /
• 8. Carl Davis, interview by Simon Trezise /
• 9. Scenes from Ozu (Ed Hughes) / 10 . Damaging a film; rediscovering a film. A Musical Comparison of Three DVD Editions of Nosferatu (Emilio Audissino) /
• 11. Electroacoustic Composition and Silent Film (Nicholas Brown) /
• 12. The Modern 'Silent Film' (James Wierzbicki) /
• 13. About the contributors /
• Index