Abstract
As an ‘auxiliary’, or at any rate complementary, art form, music accompaniment of silent films revitalized old questions about the correlation between music and the representation of extra-musical imagery. With this article, I set out to utilize a crucial concept of music theory at the turn of the century, musical hermeneutics, to ‘frame’ the arguably most significant cinema music collection and theoretic work of the silent period in the German-speaking world: the Allgemeines Handbuch der Film-Musik.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
