(some Samples of all 3 part has been attached for reference)
Part1: Cue Sheet for Odessa Steps Scene in Battleship Potemkin
Rapée’s cues for film music
Using the cues listed in Rapée’s compendium of cues, make a silent-1920s style alternate suggested cue
sheet for the Odessa steps scene of Battleship Potemkin. Imagine this would be the suggested cue sheet
that would accompany the film that is sent to theaters, intended for theater pianists or organists.
With that in mind, the cue sheet should be simple, referencing cues from Rapée, and each cue should
last a few minutes on average. It will be difficult for the accompanist to change quickly, and it will be
tiresome for him or her to play the same cue for too long.
Purpose
This assignment allows you to exercise creativity and think about what from Rapée’s bag of tricks will
work well when put into a real film. The assignment will make you think about what the silent-era music
compendiums are like to use as a resource and increase your sensitivity to the culture and working
methods of the period.
Part 2: Film Music and Social and/or Architectural Space
Description
Find one observation of film music and social and/or architectural space and cite your source. Consider,
for example, how this observation fits into this module’s study of the social and architectural spaces
where people viewed films and how these spaces—the nickelodeon, private viewer kinetoscope, and
movie palace (especially those with a theater organ)—affected music, film, and the audience. Avoid
making your own observation, but feel free to analyze and comment on the observation you do select. Be
sure the observation is factual and remember to cite the source (200 words maximum).
Purpose
The purpose of this assignment is to see how you relate abstract concepts and contextualize the use of
film music within society and culture at large. This assignment will also prepare you to research a topic,
and find and cite an outside source. Citing outside sources is a primary building block of writing a
convincing argument or paper. This assignment tests both your ability to handle abstraction (as found in
the academic environment) and the ability to research and cite source material.
Part 3: Comparing Silent-Film Music to Modern Scores
(Just in 3 lines)
How do these historical film scores to silent films, post-synched later, compare to today’s scores? Do they
use all of the features described by Larry Timm and Claudia Gorbman? Do they work the same way as
modern synchronized film scores?