ABSTRACT The practice and performance of silent cinema music was an ephemeral art form that largely passed into memory with the arrival of the talkies in Britain in 1929. It had existed for two decades with the majority of Britain’s 4,500 cinemas playing up to 60 hours of music each week. As such, it provided employment for tens of thousands of musicians and entertainment for the majority of the population who were cinemagoers. But despite its ubiquity, there are no extant recordings of cinema music performances from this period, and researchers must rely on the traces left by those early practitioners; the sheet and library music that they used and annotated, the voices of the critics who described and debated the merits of cinema music and the autobiographical material of composers like William Alwyn and Louis Levy who forged their careers in cinema music from the silent period. Early instruction manuals hint at key developments in the art and language of film music, and silent cinema musicians performing today offer audiences a strong impression of the experience of live music in cinemas. Some like Neil Brand research and publish on the history of their craft. This article uses these sources to consider the development of silent cinema music in Britain from 1909 to the coming of sound in the early 1930s, focusing on the role of the cinema music director, the music publishing industries and instruction manuals that supported their craft as the language of cinema music developed in tandem with film form and style before passing into history in the rush to embrace the talkies.
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