Module4MusicPeriodⅠ课件（外研版选修6）.ppt

【美文阅读】 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(不可缺少的；绝对必要的) accompaniment(伴奏；伴随物); ;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(资格，授权；条件，限制) 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(指示；象征；表明) 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 Griffiths film Birth of a Nation, which was released in 1915.;【诱思导学】 1．What was the film music like at first? _____________________________ 2．Which musicians gradually paid attention to film music? ______________________________ 3．How was the musical arrangement solved then? ______________________________;【答案】　1.The music was boring and there was no special relationship to the film