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Music
Hath
Charms
By
MAUDE CHEATHAM
A great deal of fun is poked at the necessity for music as an aid to emotion, but it really serves a practical purpose. Left is Gladys Hulette having her heart stirred by the studio orchestra. Below is Marshall Neilan's string quartette, of which he makes persistent use in all his pictures. This shot was taken during the making of "The Rendez-vous"
" /~\ F all the liberal arts," said Napoleon the Great,
I J "it is music which has the greatest influence
^~>^ over the passions."
This pertinent comment is recalled as we contemplate an illuminating phase of the motion-picture industry, which is the development of music as a technical tool, both in the filming and presentation of photoplays.
Music and drama have always been more or less closely allied and as far back as Shakespeare and his fellow dramatists of the Elizabethan period — which was preeminently an age of minstrelsy — plays were studded with exquisite lyrics to be sung to music. In fact, in glancing thru Shakespeare's few stage directions there will be found many such orders as "Music and Song," clearly showing his idea of combining the two arts in telling a story.
The dramatic use "of music probably had its birth in the early melodramas which interpolated incidental melodies to create atmosphere and heighten certain effects. The suggestion of the raging storm — the villain's deadly work and the pensive home coming of the lovely heroine — all these were intensified by descriptive music. It glorified the love scenes too, endowing them with the glamour of romance that even the cleverest actor and stage setting failed to meet.
Every human emotion has its own musical note, or perhaps a combination of notes that coincides and emphasizes its meaning.
Richard Wagner's wonderful success in setting great dramatic themes to musicis given a concise description by Bernard Shaw, an ardent admirer of the composer. He says: "The main leading motifs are so emphatically impressed upon the ear while the spectator is following a strong
dramatic expression that a requisite association is formed unconsciously."
This is precisely what is being done today in motion pictures.
To Geraldine Farrar is given the credit of first realizing the tremendous aid music brings to actors and directors in their work before the camera.
When she began filming her operatic success, "Carmen/' Miss Farrar found it impossible to get into the spirit of the story without the familiar music and asked that the score be played in the studio the same as if she were
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