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Music and Motion Picture
By Kos^ak Yamada
Music has been brought into close affinity with not a few of the other arts. It is most closely associated with the dance. Music and the dance, needless to say, are twin arts, of which rhythm constitutes the central factor. They came into existence before all the other forms of artistic expression. In due course of time, with the invention of the written word and the composition of poetry, music became linked with still another co-existing medium of art. Out of the kinship thus formed rose the song. But the ties that characterize the relationship between music and the dance and between music and the song cannot obviously be said to be identical. In other words, though music and poetry can exist independently of each other, the tie that binds music and the dance is based upon a circumstance which is absolutely inseparable and indissoluble. In this respect, it should be said, perhaps, that music and the dance are not so much twin arts as the manifestations of a single energy possessing two aspects. This is due to the fact that the dance was conceived as a visual art, and music as an auditory art, with rhythm as the common basic agency. Music bears practically no direct relationship with either painting or sculpture, but with literature — drama, in particular — it has a closer connec¬ tion. In a theatrical performance music is separately attached to the dance and to poetry, and has contributed greatly to the furtherance of dramatic effectiveness on the stage.
In the old days the association of music in the theatrical field was thus confined to dancing, poetry, and the drama. But now the motion picture, which may be designat¬ ed as an art of the new age, has made its appearance. In the beginning the motion picture represented no more than a filmized version of the theatrical play. Gradually, however, it paved its way toward the creation of an independent status as an intrinsic medium in itself. Consequently it has become a matter of common knowledge that the motion picture is an entirely different thing from the stage play. This is because the motion picture has been perfected as an art in itself. Because the motion picture lends itself to the shifting of scenes with a perfect freedom which is impossible in a stage play. Because the motion picture is capable of overcoming the obstacles of both time and space with untrammeled speed and facility.
But in so far as the silent “movie” was concerned, the relation of music to the motion picture was of a minor character, constituting as it did no more than a means of furnishing colour to the lyrical scenes and of heightening the dramatic effect. At length the “talkie” made its advent. Thereupon music discovered for itself its best and most
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