MUSIC 246
Lecture 5
Thursday, February 2, 2012

Transition to Sound:
- sound and silent films existed together for several years
- talkies were seen as a fad
- driven by progress in recording technology
- "sound-on-film" system. Photograph of sound waves on the edge of the film
- demonstrations of sound films as early as 1922
- several competing systems emerge:
  1. Phonofilm (1923) - vertical lines on film - excellent synchronization, poor audio quality
  2. Warner Brothers' Vitaphone (1926) - audio recording on a phonograph disk, synchronized with the film projector - excellent audio quality, poor synchronization
  3. Fox Movietone (1925) - significantly improved version of Phonofilm
  4. RCA Phonophone

- 1926 Don Juan

- Score primarily by William Axt, performed by the New York Philharmonic Orchestra
- Vitaphone - No dialog, still a silent film

The Jazz Singer (1927) Musical Supervisor: Louis Silvers

"not so much hearing him speak, but overhearing him speak"
- primarily silent, with several minutes of synchronized sound
- most of the score is compiled or adapted
- made use of the Vitaphone System
  - a financial hit
  - signaled the end of the silent era

Sunrise (1927)
- first film with full-length recorded dialog/score
- Movietone system

Changes in technology = change in aesthetics
Film had developed visually as a silent medium
Acting style - jump to "talkies"
Overacting - continuity of an established tradition

Early Problems:
1. Making films:
- all sound had to be recorded in real time

- cameras in large booths - no movement
- musicians on set - balance of sound music and dialog
- blimps
- microphone placement / sensitivity

2. Showing Films
- Too many contesting sound systems
- small number of the 20,000 theatres equipped for sound
  - variations on Fox Movietone and RCA Phonophone (both sound-on-film) continue to compete into the 1950s
  - end of 1928 over 1000 theatres
  - end of 1930 almost 9000 theatres
  - by 1935 the the transition is complete
  - massive layoffs of theatre musicians


The Development of the Studio System:
Conversion to sound requires significant financial investment - Wall Street:
- realignments and takeovers:
- by the early 1930s Hollywood is divded into 8 studios:
- 5 majors - MGM, Paramount, Warner Brothers, 20th Century Fox (1935) and RKO
- 3 minors - Universal, Colombia, and United Artists
Majors control pdocution, distribution, and exhibition. Minors department for last two.

The Depression (The 1930s)
- even tighter tighter control all aspects of film
- Paramount and RKO bankrupt and recognized
- Numerous theatres clothing
- All aspects of production and departentalized - directors, actors, and musicians are put under control 1 = Leads to the SOUND SYSTEM

Approaches the 
- 1929 production of musicals and theatrical reviews
- Rio/Rita / Broadway Melody
- problems with actors' voices - Hollywood turns to Broadway
- Busby Berkeley - lavish production numbers

-	Ideal of the musical within the depression - group effort
-	By 1930, little music on dramatic films -	"where does it come from?"
-	The Blue Angel (1930) all music originates from a diegetic source

Max Steiner (1888-1971)
-	born in Vienna, middle class, father owned a theater
-	formally trained in the tradition of European classical music
-	child-prodigy - conducting in theater by 12 -	touring as a conductor by 16
- one of his teachers was Gustav Mahler
-	wrote operettas as composer and conductor of music for stage in England
-	facing deportation because of WWI comes to US in 1914
  - worked on Broadway for 15 years
  -	invited to Hollywood in 1929, Rio Rita
  -	Cimarron (1931)
  -	David Selznick, at RKO recognized that more music might be good
  - (1932) Symphony of 6 Million, and Bird of Paradise

King Kong (1933)
- worried that out would be a flop
-	Steiner asked to compile a score
- convinces producer to create original score
-	variety of reports on size of orchestra - between 40 and 50

The Informer (1935)
-	won Academy award for "Best Original Score"

  -	other notable films: Gone With The Wind (1939); Casablanca (1942); A Summer Place (1959)
  - Most of his career - head of music at Warner Bros. (1937-1953)
  - Most of his important work is during the 1930 to the early 1950s
  - Workaholic -- contributing to over 300 film scores during his career (Died in 1971)

