Module 4 Music【美文阅读】Accustomed though we are to speaking of the films made before 1927 as “silent”， the film has never been, in the full sense of the word, silent. From the very beginning, music was regarded as an indispensable(不可缺少的；绝对必要的) accompaniment(伴奏；伴随物); when the Lumiere films were shown at the first public film exhibition in the United States in February 1896, they were accompanied by piano improvisations on popular tunes. At first, the music played bore no special relationship to the films; an accompaniment of any kind was sufficient. Within a very short time, however, the incongruity(不协调；不一致；不适合) of playing lively music to a solemn film became apparent, and film pianists began to take some care in matching their pieces to the mood of the film.As movie theaters grew in number and importance, a violinist, and perhaps a cellist, would be added to the pianist in certain cases, and in the larger movie theaters small orchestras were formed. For a number of years, the selection of music for each film program rested entirely in the hands of the conductor or leader of the orchestra, and very often the principal qualification(资格，授权；条件，限制) for holding such a position was not skill or taste so much as the ownership of a large personal library of musical pieces. Since the conductor seldom saw the films until the night before they were to be shown (if indeed, the conductor was lucky enough to see them then), the musical arrangement was normally improvised in the greatest hurry.To help meet this difficulty, film distributing companies started the practice of publishing suggestions for musical accompaniments. In 1909, for example, the Edison Company began...
