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Additional info for The Sounds of Silent Films: New Perspectives on History, Theory and Practice

Sample text

Given his principally ‘mood’-derived categories, it is notable that Levy is the most meticulous in terms of including information about tempo and key signature. 38 The Veteran points out that there was a changeover of program twice a week, on Mondays and Thursdays. But what might explain a choice of genre? At the heart of the matter is how we interpret the ‘first-level’ library indices, which also often served as the basis for the shelving system. Were those indices conceptually significant, or merely a shelving convenience?

When completed, the ledger provides the MD with a full record of the music he owns (Foort, Goldsmith, The Veteran),25 and also helps him to keep track of how many pieces he already has in each category, lest he over- or under-stock in any one of them (Goldsmith). These first-level categories would provide the basis for the shelving system, though Foort and The Veteran also suggests shelving according to folio size. Each columnist advocates a multi-level indexing system. g. g. 27 Cross-references were often added to this.

Each columnist advocates a multi-level indexing system. g. g. 27 Cross-references were often added to this. 28 In Britain, the written ledger would include both first-level and second-level indices, the latter of which were more analytical and reflected conventional mood and descriptive categories. 1 those that they do specify. The ledger would also facilitate cross-referencing. Several columnists point out that cross-referencing is important because pieces can often be characterized in more than one way and, as such, can serve more than one cinematic function.

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