| Accustomed though we are to speaking of the films made before 1927 as 'silent', the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment; when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film. As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before they were to be shown (if indeed, the conductor was lucky enough to see them then), the musical arrangement was normally improvised in the greatest hurry. To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as 'pleasant', 'sad', 'lively'. The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next. Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D.W Griffith’s film Birth of a Nation, which was released in 1915. | |
| 尽管我们习惯于将1927年以前的电影称为"无声电影"，但是就无声这个词完整的意义上来说，电影从未真正的无声过，从最初开始音乐就被视为必不可少的伴 奏。当卢米埃尔的电影在1896年2月美国首届影片公映展览上放映的时候，影片便用当时的流行曲临场钢琴伴奏。最初，这些音乐伴奏与电影没有什么特别的关 系，用什么曲子伴奏都行。但在很 短的时间内，为一部庄重的影片演奏快活的音乐所产生的不协调感变得显而易见，因此钢琴家们开始注意将自己的作品与影片的情调结合起来。 随着影剧院在数量上与重要性上的不断增长，在一些场合，除了钢琴师外，还要加上小提琴师，或许还有一位大提琴师。较大的影剧院里还组成了小型的管弦乐队。 在很长的时间内，为各部影片选择配乐完全掌握在乐队指挥或队长手中，而通常把持这种职位的资格不是技巧或鉴赏品味，而是拥有一个大的音乐作品的个人收藏。 因为直到电影上映的前一天晚上乐队指挥才能看到影片(如果这个指挥真正有幸能够看到影片的话)，音乐安排通常是在非常匆忙的情况下临场进行的。 为了解决以上的困难，电影发行公司开办了为音乐伴奏印制提示单的业务。例如1909年爱迪生公司开始将一些诸如"喜悦的"、"悲伤的"、"活泼的"之类表 明影片情调特征的提示与影片一起发行。这些提示逐渐变得更加具体，并且出现了包括影片情调说明、适用乐曲名称和乐曲转换点等内容的配乐说明单。某些影片拥 有专门为其创作的音乐。 这些早期特创乐谱中最著名的便是为D.W.格雷夫斯1915年上映的影片《一个国家的诞生》所创作的音乐。 |
| Accustomed though we are to speaking of the films made before 1927 as ' silent', the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film. As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before they were to be shown if indeed, the conductor was lucky enough to see them then, the musical arrangement was normally improvised in the greatest hurry. To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as ' pleasant', ' sad', ' lively'. The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next. Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D. W Griffith' s film Birth of a Nation, which was released in 1915. | |
| jin guan wo men xi guan yu jiang 1927 nian yi qian de dian ying cheng wei" wu sheng dian ying", dan shi jiu wu sheng zhe ge ci wan zheng de yi yi shang lai shuo, dian ying cong wei zhen zheng de wu sheng guo, cong zui chu kai shi yin yue jiu bei shi wei bi bu ke shao de ban zou. dang lu mi ai er de dian ying zai 1896 nian 2 yue mei guo shou jie ying pian gong ying zhan lan shang fang ying de shi hou, ying pian bian yong dang shi de liu xing qu lin chang gang qin ban zou. zui chu, zhei xie yin yue ban zou yu dian ying mei you shen me te bie de guan xi, yong shen me qu zi ban zou dou xing. dan zai hen duan de shi jian nei, wei yi bu zhuang zhong de ying pian yan zou kuai huo de yin yue suo chan sheng de bu xie tiao gan bian de xian er yi jian, yin ci gang qin jia men kai shi zhu yi jiang zi ji de zuo pin yu ying pian de qing diao jie he qi lai. sui zhe ying ju yuan zai shu liang shang yu zhong yao xing shang de bu duan zeng zhang, zai yi xie chang he, chu le gang qin shi wai, hai yao jia shang xiao ti qin shi, huo xu hai you yi wei da ti qin shi. jiao da de ying ju yuan li hai zu cheng le xiao xing de guan xian yue dui. zai hen zhang de shi jian nei, wei ge bu ying pian xuan ze pei yue wan quan zhang wo zai yue dui zhi hui huo dui zhang shou zhong, er tong chang ba chi zhe zhong zhi wei de zi ge bu shi ji qiao huo jian shang pin wei, er shi yong you yi ge da de yin yue zuo pin de ge ren shou cang. yin wei zhi dao dian ying shang ying de qian yi tian wan shang yue dui zhi hui cai neng kan dao ying pian ru guo zhe ge zhi hui zhen zheng you xing neng gou kan dao ying pian de hua, yin yue an pai tong chang shi zai fei chang cong mang de qing kuang xia lin chang jin xing de. wei liao jie jue yi shang de kun nan, dian ying fa xing gong si kai ban le wei yin yue ban zou yin zhi ti shi dan de ye wu. li ru 1909 nian ai di sheng gong si kai shi jiang yi xie zhu ru" xi yue de"" bei shang de"" huo po de" zhi lei biao ming ying pian qing diao te zheng de ti shi yu ying pian yi qi fa xing. zhei xie ti shi zhu jian bian de geng jia ju ti, bing qie chu xian le bao kuo ying pian qing diao shuo ming shi yong yue qu ming cheng he yue qu zhuan huan dian deng nei rong de pei yue shuo ming dan. mou xie ying pian yong you zhuan men wei qi chuang zuo de yin yue. zhei xie zao qi te chuang yue pu zhong zui zhu ming de bian shi wei D. W. ge lei fu si 1915 nian shang ying de ying pian yi ge guo jia de dan sheng suo chuang zuo de yin yue. |
| Accustomed though we are to speaking of the films made before 1927 as ' silent', the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable accompaniment when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film. As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before they were to be shown if indeed, the conductor was lucky enough to see them then, the musical arrangement was normally improvised in the greatest hurry. To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began issuing with their films such indications of mood as ' pleasant', ' sad', ' lively'. The suggestions became more explicit, and so emerged the musical cue sheet containing indications of mood, the titles of suitable pieces of music, and precise directions to show where one piece led into the next. Certain films had music especially composed for them. The most famous of these early special scores was that composed and arranged for D. W Griffith' s film Birth of a Nation, which was released in 1915. | |
| jǐn guǎn wǒ men xí guàn yú jiāng 1927 nián yǐ qián de diàn yǐng chēng wéi" wú shēng diàn yǐng", dàn shì jiù wú shēng zhè gè cí wán zhěng de yì yì shàng lái shuō, diàn yǐng cóng wèi zhēn zhèng de wú shēng guò, cóng zuì chū kāi shǐ yīn yuè jiù bèi shì wéi bì bù kě shǎo de bàn zòu. dāng lú mǐ āi ěr de diàn yǐng zài 1896 nián 2 yuè měi guó shǒu jiè yǐng piān gōng yìng zhǎn lǎn shàng fàng yìng de shí hòu, yǐng piān biàn yòng dāng shí de liú xíng qū lín chǎng gāng qín bàn zòu. zuì chū, zhèi xiē yīn yuè bàn zòu yǔ diàn yǐng méi yǒu shén me tè bié de guān xì, yòng shén me qǔ zi bàn zòu dōu xíng. dàn zài hěn duǎn de shí jiān nèi, wèi yī bù zhuāng zhòng de yǐng piān yǎn zòu kuài huó de yīn yuè suǒ chǎn shēng de bù xié tiáo gǎn biàn de xiǎn ér yì jiàn, yīn cǐ gāng qín jiā men kāi shǐ zhù yì jiāng zì jǐ de zuò pǐn yǔ yǐng piān de qíng diào jié hé qǐ lái. suí zhe yǐng jù yuàn zài shù liàng shàng yǔ zhòng yào xìng shàng de bù duàn zēng zhǎng, zài yī xiē chǎng hé, chú le gāng qín shī wài, hái yào jiā shang xiǎo tí qín shī, huò xǔ hái yǒu yī wèi dà tí qín shī. jiào dà de yǐng jù yuàn lǐ hái zǔ chéng le xiǎo xíng de guǎn xián yuè duì. zài hěn zhǎng de shí jiān nèi, wèi gè bù yǐng piān xuǎn zé pèi yuè wán quán zhǎng wò zài yuè duì zhǐ huī huò duì zhǎng shǒu zhōng, ér tōng cháng bǎ chí zhè zhǒng zhí wèi de zī gé bú shì jì qiǎo huò jiàn shǎng pǐn wèi, ér shì yōng yǒu yí gè dà de yīn yuè zuò pǐn de gè rén shōu cáng. yīn wèi zhí dào diàn yǐng shàng yìng de qián yì tiān wǎn shàng yuè duì zhǐ huī cái néng kàn dào yǐng piān rú guǒ zhè gè zhǐ huī zhēn zhèng yǒu xìng néng gòu kàn dào yǐng piān de huà, yīn yuè ān pái tōng cháng shì zài fēi cháng cōng máng de qíng kuàng xià lín chǎng jìn xíng de. wèi liǎo jiě jué yǐ shàng de kùn nán, diàn yǐng fā xíng gōng sī kāi bàn le wèi yīn yuè bàn zòu yìn zhì tí shì dān de yè wù. lì rú 1909 nián ài dí shēng gōng sī kāi shǐ jiāng yī xiē zhū rú" xǐ yuè de"" bēi shāng de"" huó pō de" zhī lèi biǎo míng yǐng piān qíng diào tè zhēng de tí shì yǔ yǐng piān yì qǐ fā xíng. zhèi xiē tí shì zhú jiàn biàn de gèng jiā jù tǐ, bìng qiě chū xiàn le bāo kuò yǐng piān qíng diào shuō míng shì yòng yuè qǔ míng chēng hé yuè qǔ zhuǎn huàn diǎn děng nèi róng de pèi yuè shuō míng dān. mǒu xiē yǐng piān yōng yǒu zhuān mén wèi qí chuàng zuò de yīn yuè. zhèi xiē zǎo qī tè chuàng yuè pǔ zhōng zuì zhù míng de biàn shì wèi D. W. gé léi fū sī 1915 nián shàng yìng de yǐng piān yí gè guó jiā de dàn shēng suǒ chuàng zuò de yīn yuè. |
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