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42 Tra?isactwns of S.M.P.E., September 1926
But there are kinds of motion pictures which present difficulties. Take, for instance, the detective story picture, the adventure story, or the farce comedy. In each story the interest centers in the plot. There may be excitement of emotion in looking at the picture, but the emotion is not in the picture itself. Here the difficult thing is not so much to know what to play as what not to play. Music that strikes any hearer as incongruous will do much to spoil that picture for him. Then, too, the action is rapid, and this causes the change in mood of the onlooker and hearer to be abrupt — too abrupt to be successfully followed in music. The point made is that it is awkward and impracticable to accord intimately with the incidents of such pictures. For instance, picture a scene in which two men are struggling for in a cellar while a dance is going on above them. I suppose for realism we should have a dance orchestra off-stage playing dance music steadily while the regular orchestra plays dramatic music according in mood with the fight. This is an extreme illustration perhaps but one which the motion picture adapter will recognize as within his experience.
The film play is a form of art and is analagous to the ballet in that it necessitates, for its adequate presentation, the synchronization of action with music. Thus, in its right development, we find a new art form in music, the possibilities of which are practically limitless. In film play we see one art-form which is dependent upon another — music — for its completion, and it is still incomplete and imperfect for presentation to the public without its musical counterpart accompanying it, just as is the case in the ballet, where dance and action are synchronized with music to ensure a perfect whole. The time has come when the motion picture theater orchestra is receiving universal recognition as an organization of artists who are working to achieve and maintain a high standard in a distinct art. Many times the question has been brought to me, "How do you synchronize the music with the picture?" When we come to the screening room to work on our next pictures, the most important part from the very start is to make a title sheet, which lists the first few words of each main and subtitle and indicates the beginning of each new reel. These titles are used as milestones in the music score as well as descriptive cues. A piano part or a full orchestral score of each orchestration is filed on shelves in the screening room, classified according to mood, nationality, etc. We have one hundred thirty-five such clovssifications all the way from "Airplane Music" to "Funeral Music"