Abstract
This chapter traces patterns in the use of nondiegetic music between late 1929 and mid-1931 based on the analysis of a significant corpus of early German sound films. While nondiegetic music did occur during this period, it was mostly limited to certain film genres and standard moments. More exceptional uses emerged in individual films before becoming more frequent from mid-1931 on. In the second part, the chapter shows that the initial reluctance to use nondiegetic music was partly supported by authors in the trade press since it was often considered to be ‘illogical,’ ‘arbitrary,’ or incompatible with sound film’s realist (or ‘objective’) aesthetics. However, this disapproval gradually gave way to habituation and fascination when new ways of connecting images with music emerged.
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