![]() Research on music in Italian silent films has so far mainly focused on music expressly composed for specific films. Some theatrical chains had in-house musical staff that would prepare music and send them out to the theaters in the chain, but this was an expensive and time consuming process and a few top end motion pictures had new or compiled musical scores written especially for them, films like the 1925 Ben Hur: A Tale of the Christ.Italian music historiography has only recently oriented its attention towards music in silent cinema in its multifaceted aspects: praxis, musical repertoires, production contexts, the public, organization of performances and so forth. Some musicians resented cue sheets as just another chance for film companies and music publishers to work together to push their ware. Some musicians never saw a cue sheet, some used them, ignoring them as much or as little as they pleased. The pianist, organist, or orchestra leader would look over the cue sheet, watch the film once (if possible), and organize music accordingly to play during the film's public run, adjusting afterward or on the fly, as needed. So to aid them in making the movie successful - which was in the interest of everyone: musicians, theater owners, film companies, music publishers - cue sheets were sent out to help guide the local talent make effective choices. Most directors or accompanists had, at most, one chance to see the film before they played the picture live on opening night which was generally considered the dress rehearsal. These musical selections printed on the cue sheet were only suggestions that the players might follow closely or completely ignore. Cue sheets were a shorthand guide to the film which listed appropriate musical numbers for each part or "cue" of the film. ![]()
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