This is interesting

Profession - Taper

At the dawn of cinema, the viewer came to the cinema to watch short silent films. The action on the screen unfolded in silence. However, cinematographers understood that in ordinary life a person receives information not only by sight, but also by hearing, so they tried to “sound” the picture with at least music. For this purpose, musicians were invited to work, who performed funny and sad, romantic and tragic melodies, focusing on what is happening on the screen now. Such musicians are called tapers or cinematographers. Their “film illustrations” enhanced the expressiveness of the film, and helped the viewer to perceive it better.

About improvisation

Not all musicians have the art of improvisation. Some, even professional performers, cannot be asked to play a song, just now it sounded on the radio. By the notes - yes, but without the notes ... What could the pianists who could not improvise do when they started working as tapers at the cinema in the late 19th and early 20th centuries? After all, they needed to play music that reflects what is happening on the screen. In order to prevent the taper from becoming confused and not playing the wedding march during the duel scene, special compilations of a collection of musical compositions for cinematographers were created - kinoteks. Musical pieces for lyrical scenes, comic, dramatic, for fight scenes and even for chase scenes were selected in the kinoteks.

About live music

Big ship - great sailing. Large cinemas of the late 19th and early 20th centuries could not afford to hire not just one pianist or saxophonist to play films, but a whole orchestra! Even nowadays, special shows of films, loved by the audience, are arranged with orchestral accompaniment. The “Titanic” show by James Cameron or “Star Wars” by George Lucas for the symphony orchestra did not leave indifferent the modern audience.

The first musical scores for films

More than a century ago, when the films were black and white and dumb, and the music in the cinemas was live (a taper or orchestra was playing), some directors decided that they didn’t want different movies to play in different cinemas. . You can not control what the tamer will think of. The directors decided that their films are worthy of specially written music. Then the first musical score for the film The Assassination of the Duke of Guise (1908) by composer Camille Saint-Saens was created. In the same year music was written by the composer Mikhail Ippolitov-Ivanov to the Russian film “Ponizovaya Volnitsa”.

The first sound movie

Now it is difficult for us to imagine that at one time it was interesting for someone to watch silent films. But a man is so tripled: he likes what he has until he is shown something better. The appearance of sound in the movie turned everything upside down. It seems that everything only makes sense, the cinema has "its own language", but no. Now everything will be different. He spoke from the screen, and not only spoke, but also started singing by Al Jolson in the film “Jazz Singer” from the Warner Brothers film studio. He turned to the viewer, and the viewer no longer wanted to just look. He wanted to see and hear.

The phantom counterpoint

What brought the sound to the movies in the early 20th century? Not only new features, but also new restrictions. If in the film 50% of the information was transmitted through dialogues, then how would a foreign viewer understand it? The answer that a translator is needed is of course obvious, but there were other questions as well. Three Soviet directors S. Eisenstein, V. Pudovkin and G. Alexandrov wrote in their manifesto “Application” that the film should not turn into a filmed performance. The films must have their own expressive language, and one must use the possibilities of sound with the mind. The directors wrote that it is not worth one-on-one to illustrate with sound what we already see. The sound should carry some meaning that will enhance the story, and not just complement the image. Eisenstein called this "a sound counterpoint", i.e. not a coincidence of image and sound.

Soundproof counterpoint

“Soundproof counterpoint” is a term coined by director S. Eisenstein and meaning a discrepancy between image and sound. He not only wrote about this technique, but also used it in his paintings. For example, in order to anticipate the dramatic denouement of the scene, he could deliver heavy sad music much earlier. Contemporary director Quentin Tarantino uses the “sound counterpoint” in his films. For example, during the very cruel scenes of fights in the movie "Kill Bill", the gentle, romantic music of Ennio Morricone sounds. And, of course, it creates a sharp dissonance in the viewer, and some completely new perception of the film is born. From this we can conclude that different music, superimposed on the same graphic series, not only fill it with some special mood, but can even affect the meaning of the film and its content.