Sound tracks of lost films. Printed film music until 1918

考虑到（根据早期电影中的音乐伴奏实践）到1918年为止为个别电影创作（或至少是编排和印刷）的乐谱数量相对较少，绝对数量远远超过100部，令人惊讶的是，这些作品和汇编中的大多数尚未被纳入电影音乐的综合分析研究。以前关于1918年之前的研究反复集中在一个最小的选择，这是不具有代表性的，对“L'Assassinat du Duc de Guise”与卡米尔圣桑的音乐，“Der Student von Prag”（1913）与约瑟夫韦斯的音乐，《一个国家的诞生》（1915年），音乐由约瑟夫·卡尔·布雷尔（Joseph Carl Breil）和《撒旦狂想曲》（Rapsodia Satanica）（1917年），音乐由彼得罗·马斯卡尼（Pietro Mascagni）创作。主要原因是，大多数专门为之作曲或编辑的电影都已不复存在，或者只是片段。电影音乐的语料库的分析，其中约。70%（这对应于通常假设的“无声电影”的损失率）在没有相应电影的情况下被保留，并且只有大约70%的损失率被保留。25%的完整电影，充满了风险。必须克服电影音乐主要被视为应用和功能音乐的范式，因为没有电影，人们只能对音乐和电影之间的具体关系做出有限的陈述。因此，这样的分析考虑到，即使电影和音乐都被保存下来，这也是一个“视听重写”的问题。该项目的目的是研究第一次世界大战结束前电影音乐（最广义上）的形成和起源，首次考虑所有印刷的，大部分是作曲的，部分也是编辑的音乐，从而对音乐美学和前古典无声电影的音乐气质做出根本性的贡献。从1908年第一次所谓的电影危机到1918年的时间框架提供了一个机会，可以考察德国、英国、法国、意大利和美国（如果可能的话，还有俄罗斯）在不同的美学、经济和法律的条件下电影音乐的制作和接受。工作假设是，在早期的作品中，有基于19世纪不同音乐戏剧流派（情节剧，歌剧，哑剧，附带音乐，交响诗和各种图片音乐）的异质方法。在此基础上，电影音乐才得以形成。

Considering the (in light of the practice of musical accompaniment in early cinema) relatively small number of scores composed (or at least arranged and printed) for individual films up to 1918, which in absolute terms is well over 100, it is surprising that the majority of these compositions and compilations has not yet been included in comprehensive analytical studies of film music. Previous research concerning the period up to 1918 repeatedly focused on a minimal selection, that is not representative, on 'L'Assassinat du Duc de Guise' with music by Camille Saint-Saëns, 'Der Student von Prag' (1913) with music by Josef Weiss, 'The Birth of a Nation' (1915) with (partly compiled) music by Joseph Carl Breil and 'Rapsodia satanica' (1917) with music by Pietro Mascagni. The principal reason for this is that most of the films for which music was specially composed or compiled are no longer extant or only as fragments. The analysis of a corpus of film music, of which approx. 70% (this corresponds to the loss ratio that is assumed for 'silent films' in general) is preserved without the corresponding films and only approx. 25% with the complete films, is fraught with risk. The paradigm according to which film music is primarily to be viewed and analyzed as applied and functional music has to be overcome, because without the film one can only make limited statements about the concrete relationship between music and film. Thus, such an analysis takes into account that, even where both film and music are preserved, it is a matter of 'audio-visual palimpsests'. The project’s aim is to examine the formation and genesis of the composition (in the broadest sense) of film music up to the end of the First World War, considering for the first time all printed, mostly composed, partly also compiled music and thus to make a fundamental contribution to the musical aesthetics and the musical dispositifs of the pre-classical silent film. The time frame from the first so-called film crisis in 1908 to 1918 offers the opportunity to examine the production and reception of film music under different aesthetic, economic, and legal conditions in Germany, England, France, Italy, and the US (as well as, if possible, Russia). The working hypothesis is that in the early compositions there are heterogeneous approaches based on different musico-theatrical genres of the 19th century (melodrama, opera, pantomime, incidental music, symphonic poem, and varieties of picture-music). Only on this basis the formation of film music took place.