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Experiments in Early Sound Film Music: Strategies and Rerecording, 1928–1930

Experiments in Early Sound Film Music: Strategies and Rerecording, 1928–1930 MICHAEL SLOWIK Experiments in Early Sound Film Music: Strategies and Rerecording, 1928–1930 Though the early sound era has received considerable attention from film scholars, it remains neglected by those who study film music. A fair amount has been written about the history of l fi m music in the silent era (roughly 1895–1927), including its influences from prior media and its typical practices in nickelodeons and movie palaces. Substantially more scholarship has been devoted to what is sometimes referred to as the Golden Age of film music (1935–50)—its scoring practices, techniques, and major film composers. Yet the literature on film music in the early sound era not only remains slim, but also often suffers from overgen- eralizations and a lack of close analysis. Consequently, the prevailing narrative of film music in the early sound era has remained relatively simple: after a brief period (1926–29) that included music-and-effects- only synchronized scores (such as Don Juan [1926], Sunrise: A Song of Two Humans [1927], The Man Who Laughs [1928], and Desert Nights [1929], to name only a few), technological restrictions and fears that all sounds needed a source in the image caused Hollywood to virtually abandon nondiegetic music. The standard account http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Experiments in Early Sound Film Music: Strategies and Rerecording, 1928–1930

Slowik, Michael.
American Music , Volume 31 (4) – Mar 28, 2014
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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

MICHAEL SLOWIK Experiments in Early Sound Film Music: Strategies and Rerecording, 1928–1930 Though the early sound era has received considerable attention from film scholars, it remains neglected by those who study film music. A fair amount has been written about the history of l fi m music in the silent era (roughly 1895–1927), including its influences from prior media and its typical practices in nickelodeons and movie palaces. Substantially more scholarship has been devoted to what is sometimes referred to as the Golden Age of film music (1935–50)—its scoring practices, techniques, and major film composers. Yet the literature on film music in the early sound era not only remains slim, but also often suffers from overgen- eralizations and a lack of close analysis. Consequently, the prevailing narrative of film music in the early sound era has remained relatively simple: after a brief period (1926–29) that included music-and-effects- only synchronized scores (such as Don Juan [1926], Sunrise: A Song of Two Humans [1927], The Man Who Laughs [1928], and Desert Nights [1929], to name only a few), technological restrictions and fears that all sounds needed a source in the image caused Hollywood to virtually abandon nondiegetic music. The standard account

Journal

American Music – University of Illinois Press

Published: Mar 28, 2014

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