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AmAnfang It was mainly used to drown out rattling Geräuschedes projector; but it only took a few years for film music to become EinerKunstform own right, becoming a major, unerlässlichenBestandteil of cinema.
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In cinema The music comes before language: Even in silent film time films were never mute, ihreAufführungenvon were always accompanied by a pianist or an organist, and if DasPublikum was lucky, n organist played on one of those LegendärenKinoorgeln who The company Wurlitzer since 1914 made: GewaltigeGerätemit a lot of buttons and even more noises, which could not only imitate an entire orchestra, also many or Klängeaus nature and civilisation. The take klanglichenEinfallsreichtums and wit, which manifested itself in se instruments, has hardly ever been regained until today Beglückendund.
Rascals magnificent instruments can be seen in Scorenoch once in operation: it itis schönstenund most illuminating scenes in film by Matt Schrader, who dedicates himself DerGeschichte and present of film music. He dedicates himself to Anfängendieser story with cinematographic passion, but n to completely skip epoch of Frühenz Oak animated films – for development of film music so central.
Unfortunately, unidimensional
He rushes over frühenTonfilm in sauce step until Sixties to dedicate Sichdann extensively to work of Bernard Herrmann and John Barry. But re is nothing to say about it, because both are fraglosgroßeMeister of ir art: what tion Duschmord sequence in Alfred Hitchcock’s mind without shrill rhythms of derMesserstiche-crying violins by Bernard Herrmann? How much less elegant and Stilprägendhättendie early JamesBond films worked without soundtracks of John Barry?
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To music Wäredas cinema is only half as effective, schönund interesting: This is sis that Schrader tries to prove systematically in historical apro, for example, by repeating psycho-Duschmordohne music, which makes it just nochhalb so Shocking. Also let composers, critics and a psychologist explain how perception of images by Zufügungvon music changes.
The Könntenun not only Kinematografisch be enlightening, but unfortunately istSchraders access to one-dimensional. “Change” through music interests him only a single aspect: nämlichals increase of emotional intensity. That re are also soundtracks that draw ir charm from KonsequentenKontrapunktierung of images (think of music VonStanley Kubrick and Wendy Carlos for ClockworkOrange) – Thestory Schrader eir unknown or it kümmertihn not because se techniques do not come from blockbuster cinema.
