This thesis argues that how-to manuals and cue sheets are indicative of ideal performance practice amongst musicians from the silent film era. Pre-scored music was widely practiced amongst musicians. How-to manuals and cue sheets helped the musician accurately and consistently accompany a film. Authors of period manuals include W. Tyacke George, Edith Lang and George West, Ernst Luz and George Tootell. Compilers of cue sheet include James C. Bradford, Ernst Luz, Edward Kilenyi and Michael P. Krueger. Cue by cue analyses of The Cat and the Canary and The Gaucho show a high repetition of music, establishing continuity between the music played and the image on the screen. This shows how compilers associated music and film. These manuals and cue sheets prove that the musician community strove for a close connection between the image on screen and accompaniment. By 1920, arbitrary improvisation was unacceptable.

This thesis argues that how-to manuals and cue sheets are indicative of ideal performance practice amongst musicians from the silent film era. Pre-scored music was widely practiced amongst musicians. How-to manuals and cue sheets helped the musician accurately and consistently accompany a film. Authors of period manuals include W. Tyacke George, Edith Lang and George West, Ernst Luz and George Tootell. Compilers of cue sheet include James C. Bradford, Ernst Luz, Edward Kilenyi and Michael P. Krueger. Cue by cue analyses of The Cat and the Canary and The Gaucho show a high repetition of music, establishing continuity between the music played and the image on the screen. This shows how compilers associated music and film. These manuals and cue sheets prove that the musician community strove for a close connection between the image on screen and accompaniment. By 1920, arbitrary improvisation was unacceptable.