During the silent era, as known, the accompaniment music for film projections was in an extremely precarious state. Nevertheless, film theory assigned to music an essential role, often describing the ‘tenth Muse’ as a daughter of the more ancient and noble ‘art of sounds.’ The idea of an ‘elective affinity’ between music and cinema found a theoretical systematization within the writings by Georg Otto Stindt (1924), Béla Balázs (1924), and Hans Erdmann (1927), who identified the rhythmic dimension as the trait d’union between these two forms of art.
Francesco Finocchiaro, “Im Anfang war der Rhythmus”. Aesthetic Abstractions in the Film Music Composition of the 1920s, 17th International Music Theory Conference, Lithuanian Academy of Music and Theatre, Vilnius, November 8–10, 2017.
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