The Film Renter and Moving Picture News (Nov-Dec 1922)

Nov. 4, 1922. THE FILM RENTER &» MOVING PICTURE NEWS. (Technical Supplement). 79 Music and the Kinema. THE KINEMA AS THE GREAT MUSICAL EDUCATOR. THE NECESSITY OF SPECIAL TRAINING FOR THE KINEMA MUSICIAN. By Dr. GEORGE TOOTELL, Mus: Doc: F.R.C.O. a ee HE question of adequate training of ausicians for the Kinema is one cf very great importance, It is not a question of the future, but of the present moment, vitally affecting not only the status of the kinema, but also the standard ob imurical taste and appreciation of the public. The kinema, as an institution, can do than any other institution or cresmisation to improve musical taste and further the cause «tf good music. Though I am fully aware that many kinemas do not adequately cater to the musical necessities of their programs, the leading kinemas do uscally attend to this vitally important nutter, and secure the best musicians they can to present the best of music. The value of the kinema in musical education is by many very sadly underestimated; I myself consider it to be the greatest potential factor in the musical education of the publie. nore Comparisons: Concert Hall and Kinema. The concert hall and the kinema are two distinct and different institutions, with one point in cominon—the presentation to the public of good music. In the latter case, the music is, of course, hot the primary object, but as it is an exsential part of the kinema program. ‘we can quite justly compare the two from the point of view of their influence upon the musical taste of the nation, In the eoncert hall a selection of musical works is pertormed, including, perhaps, something quite new: the program is played through once, and then, with the exception of well-known or threadbare items, none of the music is heard again for some time—possibly months. Coimpare this to the possibilities offered by the kinema. I take, for instance, two lists of the music arranged for two consecutive programs at the Stoll’ Picture Theatre during the current week us I write this waticle. These lists comprise the compositions of Ravel, Debussy, Rachmaninoff, Massenet, Humperdinck, Greig, Richard Strauss, Giordano, D'Albert, Tschaikowsky, Verdi, Liszt, Wagner. Wolff-Ferrari, Floridia, Mozart, Beethoven, Brahms. and others: and of British composers, Elgar, Mackenzie, Quilter, Frank Bridge, Coleridge-Taylor, Fleteher, Landon Ronald, Coates. Ansell, German, Bowen. Amongst other composers who have been frequently represented are Bach. Pureell, | KiniskyKorsakoff, Teherepuine, Scriabin, Chopin, Widor, D'Indy, Berlicz, Stanford, ete. Fach of these compositions has been played three times daily: in other words, each has received at least nine consecutive! performances. After considering this for womement, can the value of the kinema as a musical educator be overestimated ? [do not for one moment advocate the kinema as a substitute for the concert hall. The two are totally distinet. each with its ownoinission? The kinema is not a concert hall: there is musie for the one which is not suited to the other, and it should always be remembered that in the kinema the music is not the main Google thing, though at the same time, it is of primary importance as a vitally necessary complement to the fila. The kinema, therefore, is in an unique position from the musical point of view, calling for the best music and the best musicians, but at the present tine the only institution where any special training such as is required for the work can be obtained. is the kinema itselé. We, therefore, cften find the somewhat Gilbertian situation of aman being appointed to a position in the kinema, and proceeding to learn his business atter appointment. This is invarinbly the case with kineta organists, of whom, I feel sure, very few indeed in this country understand the requirements of the kinema, The Necessity for Special Training. It is quite time that those who control and direct our academies and institutions for musical training realised that the demand for the best music and adequately trained musicians in the kinema is sistent. The kinema is a firmly established institution in which music ig an essential and integral factor and must be adequately catered for, As the kinema constantly progresses and new developments take place, so must the musie constantly improve and go from strength to strength. And if our training institutions cannot wake up to these faets and provide in their curricula a special course for the purpose of supplying the special training necessary to the kinema musician, then it is to be hoped that a special training centre will be formed independently for this purpose: whereby the older academies will be the losers in niere ways than one. Training courses are needed for kinemit musical directors, organists, composers, and orchestral players. A first-rate kinema requires for its musical director a man who is a first-rate conductor possessing an encyclopedic knowledge of musical compositions, a good all-round knowledge of music. a thorough knowiedge of the orchestra, able to arrange music effectively for small combinations, and thoroughly competent to compile a satisfying musical setting to a film and ensure its Conducting an opera is an easy matter compared to through a perfectly synchronised setting to a super-film. The organist also needs a vast knowledge of musical compositions, a perfect technique and very high artistry, and mast, moreover, be expert in improvisation, Composition of film-musie is a special branch requiring speeinl study, as To iave demonstrated elsewhere, and kinemia Training is required artistic performance. directing an orchestra orchestral playing ig also a distinct line. for ail these departments, and ought to be provided now, Vietor Herbert has, in one sentence, justified the kinema musician : “© Thes have spread musie to the masses in greater numbers than all the svinphony orchestras put together." No truer statement has ever been written. I hope that it will very soon be realised hy those who control our academies—when they waken up! 696790A