Mayor Gaynor on the Kinetograph

In April 1913, Mayer Gaynor of New York and a number of his commissioners were the subject of Kinetophone film. Whether this was for publicity, goodwill or an attempt to find a new market for the sound film is unclear, but it received quite a lot more press attention than any previous Kinetophone subject. This first item reports on the "posing" of the film.

Mayor In Talking Pictures

With Waldo and Other Commissioners, He Talks and Poses.

Patrons of the talking picture houses will have an opportunity soon to see and hear Mayor Gaynor, Police Commissioner Waldo, Fire Commissioner Johnson, Street Cleaning Commissioner Edwards, and Robert Adamson, the Mayor’s secretary, explain the workings of the city government. Yesterday the Mayor and his Commissioners went up to the Edison studios, at Valentine and Decatur Avenues, the Bronx, and posed for a series of moving picture films. At the same time they talked into a phonograph, and every word and gesture were duly recorded. The Mayor explained that he had promised representatives of the Edison Company long ago that he would talk and “act” for them, and that he found his first opportunity yesterday.

Source: “Mayor In Talking Pictures,” New York Times 18 April 1913, 1.

This next notice is more a publicity item, which suggests that the Kinetophone might have an important role in preserving the historical record.

Films for Posterity

Edison to Present Gaynor and Others in Records for Centuries.

Thomas A. Edison, who recently perfected the kinetophone, will formally present to the Modern Historic Records Association at the City Hall this afternoon at 1 o’clock the talking-motion-picture records that were lately made of Mayor Gaynor and other department heads of the city Government. The records, including both the motion picture films and the phonographic cylinders, will be received by William George Jordan, Managing Director of the Modern Historic Records Association, in the presence of Mayor Gaynor and others of whom records were made.

Mr. Edison will also present a piece of parchment on which there will be an inscription explaining that the records are intended to be preserved for centuries, and below the inscription will be the signatures of those whose records were made, certifying their genuineness. Until the Modern Historic Records Association builds its own home the records will be deposited in the New York Public Library. At a demonstration a few days ago in the Union Square Theatre the records were approved by the Mayor and his associates. In addition to Mayor Gaynor, there are records of his secretary Waldo, Fire Commissioner Johnson, and street Cleaning Commissioner Edwards.

Source: “Films for Posterity,” New York Times 1 May 1913, 6.

This is the report of the premiere of the film. Note that as of May the Kinetophone is still installed at four Keith and Proctor vaudeville theaters.

The Mayor In the "Movies"

Mayor Gaynor, Secretary Adamson, and Commissioners Waldo, Johnson, and Edwards made their vaudeville debuts yesterday afternoon at three of the Keith theatres, the Colonial, the Union Square, and the Alhambra, and Proctor’s Fifth Avenue, the simultaneous appearance being accounted for by the fact that they were seen as stars of an Edison talking moving-picture record. The Mayor’s secretary and the three Commissioners each spoke a few sentences for the recording machine, and then Mayor Gaynor gave a three-minute talk. The scene was set to represent the Mayor’s office, and the five speakers were seated around a large table when the picture was flashed on the screen.

The Mayor began by saying that he wished it were possible to have all the heads of city departments on the screen to tell the people about their activities, but he had to content himself with having three of them there. Some of the “corrupt newspapers,” said the mayor, had been endeavoring to raise a public clamor to have some of his Commissioners dismissed, but he had stood by them. He said that he believed the public was beginning to realize he as right in standing by them. He closed with an argument in favor of the Workmen’s Compensation bills, which he said he hoped to see enacted into law.

Source: “The Mayor In the ‘Movies,” New York Times 6 May 1913, 20.

This is an excerpt from "Observations By Our Man About Town," a regular column that appeared in Moving Picture World. From this column it seems likely that Edison was exploring the possibility of increasing the market for the Kinetophone by using it to record lectures and other educational events.

Mayor Gaynor, Police Commissioner Waldo, Fire Commissioner Johnson and Street Commissioner Edwards made their debut in motion picture studio work one day last week. They figured in talking moving pictures and, while some people look upon it as a joke, the event will do much towards demonstrating the value of the pictures in the exemplification of the work attached to the various civic departments. Communities finding it impossible to secure the personal attendance for lectures of men who become prominently identified with municipal, state and national departments will find a valuable acquisition in such pictures. Chatauqua circuits and lecture platforms will be particularly interested in the development of this branch of the industry. It is to become one of the most important factors in the educational line. Each day brings forth some new development or undertaking, showing clearly that the day is not far distant when the motion picture will become as indispensable in educational circles as it has become popular in the world of entertainment. It is no longer a question as to how long the pictures will survive. Truly they are in their infancy.

“Observations By Our Man About Town,” Moving Picture World 3 May 1913, 476.

Thematic Cue Sheet Patent

Below is Moses Mintz's patent for the thematic cue sheet, like the one posted last week for Chaplin's Shoulder Arms. The full patent if available through Google by clicking on the image.

Patent number: 1463288
Issue date: Jul 31, 1923

The Opening of the Music Hall

This item, which appeared at the end of April 1913, reports on the first couple of weeks of operation at the Music Hall in Cincinnati. An earlier notice on the Music Hall is available here.

The Music Hall, Cincinnati, seating 3,600 people, was opened with exclusive picture programs, March 29, by the Empire Exhibition Co., of New York. Licensed feature films are chiefly used. The house was opened with the "Prisoner of Zenda." A fourteen-piece, selected orchestra is used to accompany the pictures, and high class vocal and instrumental numbers are introduced during the intervals. John Bunny, the well known Vitagraph comedian delivered his special monologue during the first week, and Francis X. Bushman gave lectures the second week. Both these gentlemen scored big hits. Miss Florence Turner, another big Vitagraph favorite, has been booked for the week of Monday, April 14, to appear in a comedy skit, of her own composing. The admission to the Music Hall is 25 cents for evenings and Sunday matinees. For other matinees the charge is 10 cents. A. N. Smallwood and J. T. Hennegan are the managers.

Source: James McQuade, “Chicago Letter,” Moving Picture World 26 April 1913, 366.

Another short notice appeared the next week, this one covering Florence Turner's visit.

Miss Turner Entertained At Cincinnati
On the occasion of Miss Florence Turner's recent visit to Cincinnati, Ohio, where she went to appear at the Music Hall picture show, the Exhibitors' League of that city entertained her and Mr. Lawrence Trimble, her manager, at the Sinton Hotel, where an elaborate dinner was served. Miss Turner also received several beautiful floral tributes at the close of her engagement at the Music Hall; one large bouquet of American Beauty roses from the league, and one from A. C. Dingelstedt, president of the local.

Source: “Miss Turner Entertained At Cincinnati,” Moving Picture World 3 May 1913, 471.

Talking Pictures Popular

Two publicity items for Edison's Kinetophone appeared in the 26 April 1913 of Moving Picture World: a full page ad and a short article. Clearly, the strategy for exploiting the Kinetophone had moved its primary target from vaudeville to the regular moving picture theaters. This change in strategy is perhaps one reason William E. Waddell, General Manager of the American Talking Picture Company, the firm responsible for marketing the device, states near the end that he believes the Kinetophone "belongs to the motion picture theater," even though it had to this point been marketed exclusively to vaudeville theaters.

Talking Pictures Popular
"The Edison Kinetophone was installed in six theaters in New York and Chicago on February 17th, and since that date installation has been made in practically every city of size in the United States. It must be admitted that greater headway has already been made for the Kinetophone during this brief time than was ever accomplished by the numerous previous attempts at talking pictures," said General Manager Waddell of the American Talking Picture Company, the other day. "Of course the name of Edison has much to do with this ready acceptance by the various theaters, as they were confident Edison would not market an article that was not practical. That this judgment was good is evidenced by the record-breaking attendance and the enthusiastic comments of the press. Marked improvement is noted week by week in subject and production. A practical knowledge of the requirements of the theaters could be gained only by experience, and the studio staff have learned more in the past few weeks than could have been learned in another year's work in the laboratory.

"The talking pictures may never take the place of the pantomime pictures, but will undoubtedly prove an admirable adjunct. It belongs to the motion picture theater, where it will serve to enliven that otherwise quiet entertainment. It is only a matter of time—and a very short time at that—before we will have colored talking, and perhaps stereoscopic motion pictures."

Source: “Talking Pictures Popular,” Moving Picture World 26 April 1913, 361.
Image Source: Moving Picture World 26 April 1913, 419.

A Forty-Five-Minute Talking Picture

This short item notes experiments in 1913 with multireel talking pictures in Paris. Gaumont's system, which had been in regular use in Paris for years and steadily improved in quality, was for uncertain reasons never put in wide circulation in the United States.

The most surprising claim in this notice is that the dialogue was easily heard throughout the theater, since amplification and intelligibility of dialogue (not synchronization) were generally considered the most difficult issues confronting makers of synchronized sound film.

A Forty-Five-Minute Talking Picture

At the Gaumont Palace Hippodrome in Paris, a few days ago, there was exhibited a speaking film running forty-five minutes. This is by far the longest talking picture ever thrown on the screen. The photoplay was taken from a famous French farce and was witnessed by nearly eight thousand people, the extreme capacity of the house. The dialogue was distinctly heard in the farthest corners of the auditorium without appearing unduly amplified to those in the pit. The Paris Daily papers gave the Gaumont talking pictures from four inches to three-quarters of a column next morning and described the entertainment as a revolution in the cinematographic art. Speaking photoplays running from twenty to thirty minutes are now being shown nightly by means of the Gaumont improved Chronophone in the Gaumont Palace Hippodrome.

Source: “A Forty-Five-Minute Talking Picture,” Moving Picture World 5 April 1913, 52.

Week 6 Lectures

This week we covered Chapter 5, Music in Film Form.*  Because it deals with relatively large spans of time, the content for this chapter is a bit more challenging to present during lecture—especially if your class is organized, as is mine, without a required screening of full films. I compromised a bit and watched the first 50 minutes or so of Casablanca, so we could discuss some of these issues of large-scale organization of film and music.

[*update: 2-23-18: The basic material of the first edition Chapter 5 that is covered here is in Chapter 6, pp. 187 ff. Because of the chronological sequence adopted for the second edition, the film examples are from around 1930. In the second edition, the establishing sequence for Meet Me in St. Louis is discussed in Chapter 7, pp. 254-55.]

I began this week's lectures talking about the differences in runtime segmentation between music and film. I followed the text in presenting the hierarchical divisions of music (motive, phrase, period, section, movement) and film (shot, scene, sequence, act). For music we then looked at the chorus of "Meet Me in St, Louis, Louis" in terms of 32-bar song form. (The sheet music itself is available here.)



For a variety of reasons, terminology for 32-bar song form is not always consistent, with the repeated A sections sometimes called "verses" on the one hand, the B section called a "bridge" or "middle eight" on the other. Since "Meet Me in St. Louis, Louis," like most Tin Pan Alley-era songs, also includes a proper verse, calling the A sections "verses" easily leads to confusion. I therefore chose to label the opening two phrases as "phrase one (A)" and "phrase two (A')"; I labeled the final phrase as "recapitulation (A")"; and retained the term "bridge (B)" for the contrasting middle section. At subphrase level, I marked out "basic idea" units of two measures rather than motives proper; the varied rhythmic repetition of the second "Louis" (which in performance is sometimes transferred to the initial "Louis" as well) creates a distinct motive that recurs in every phrase of the chorus, including the bridge.

As I noted above, "Meet Me in St. Louis, Louis" has a proper verse that precedes the chorus, which makes the chorus a section of the full song.

In terms of film form, we looked at an early segment of the film, Meet Me in St. Louis, where the song is introduced by Agnes and then passed along to Grandpa and the older teens. Here is a shot list:

From Title Song Scene—Shot List

1. LS, Agnes and others in kitchen, tracks into hallway
   
   
   
   


2. LS, Climbing stairs
   
   
   
   
   


3. MLS, Grandpa in bathroom
   
   
   
   
   


4. LS, Agnes and Grandpa, tracks following Grandpa
   
   
   
   


5. MLS, Grandpa in bedroom, at end to window
   
   
   
   


6. ELS, Street from Grandpa’s window
   
   
   
   
   


7. LS, street level
   
   
   
   

We then lined up the shots with the musical articulations:

From Title Song Scene—Shot List and Music

1. Agnes sings (AA’ beginning of bridge)
2. Middle of bridge
3. Grandpa takes over (AA’)
4. Bridge and A”
5. AA and bridge (offscreen teens)
6. Recap (A”)
7. Stretched out cadence.

One of the parallels between music and film form we can see here is that the beginning of each chorus initiates a new space (Agnes into the hallway; Grandpa in the bathroom; Grandpa in his bedroom). In each case the shift to the bridge also brings pronounced movement: Agnes climbs the stairs; Grandpa in the hallway; the teens coming to the house in the carriage. Here we can say that the film form seems to be responding to the particularities of musical phrasing; this is fairly typical in musical sequences, especially in musicals. (A brief discussion of this segment can be found in HtM, pp. 167-68.)

* * *

The remainder of the lecture for the week was taken up with screening and discussion of roughly the first half of Casablanca. Here the emphasis was on issues of larger level audiovisual phrasing and the identification of structural sync points. In terms of the audiovisual phrasing I drew attention to the nondiegetic music (and voiceover) for the opening prologue; the exclusive use of diegetic music for the early scenes at Rick's; the diegetic musical reaction to Ilsa's initial appearance and the nondiegetic stinger when Rick first sees Ilsa (the crucial sync point in the first half of the film); the audio dissolves that bookend the flashback; and the emotional fluctuations in the music as it responds to the dialogue in the scene with Ilsa that follows the flashback. If I had time, I would have carefully compared the scene where Rick and Ilsa meet (discussed in the text on pp. 102-06) with the scene between Rick and Ilsa after the flashback in terms of audiovisual phrasing and the location of sync points; I haven't completed laying out my lectures for this week, so if I can find 20-30 minutes, I may well spend the beginning of Tuesday's lecture exploring this issue.

* * *

Finally, we ended the week with the second quiz. I tried something new. Besides having the students define and discuss terms, I gave them short transitions to identify using the terminology from Chapter 4. I chose four segments from (500) Days of Summer, each lasting roughly 30 seconds, and played them three times each. Although the students were quite apprehensive about the task—with copyright issues it is difficult to give students much practice since it takes class time—they actually performed quite well. I also had them write a short essay on the party scene from the same film. Here is the question:

This scene comes from near the end of (500) Days of Summer. After having broken up with Summer, Tom meets her at a wedding of a mutual acquaintance. They seem to hit it off again, and she invites him to a party. This is the party scene, which is accompanied throughout by Regina Spektor’s “Hero.” The lyrics to the song are attached.

Note that the music is similar in form to “Meet Me in St. Louis, Louis,” which we discussed in class; the large musical sections are marked in the margins. It is basically an AA’BA” song with the second BA” repeated in varied form. The first A” also repeats the lyrics of A’ whereas the final A” introduces new lyrics. The individual sections are longer than the standard 8 measures—this is common in popular music today—and each is divided into subsections (indicated by stanza breaks in the lyrics).

Write a paragraph describing the sound track of this clip paying particular attention to sync points and issues of audio visual phrasing. How is film form affected by the music in this scene? What lyrics stand out and how do these relate to the image and unfolding narrative situation? What role do the musical articulations (the beginning of sections) seem to play organizing the scene? Mention anything else you see as particularly significant or interesting in the sequence. Aim to be as complete as you can in describing the sounds and music.

Obviously, I provided a lyric sheet with musical sections indicated. I also played the sequence, which lasts a little over 3 minutes, three times. I found the students did pretty well on this question as well—although more than I would have liked had difficulty with the concept of the sync point. Nevertheless, most noticed that the beginning of the final (ironic) A section coincides with the close-up of Summer's engagement ring.

A Visit to the Deagan Factory

Deagan's large ad buy in April 1913 continued to generate favorable coverage elsewhere in the Moving Picture World. In June, Clarence Sinn devoted the first part of his "Music for the Picture" column to detailing a visit he evidently made to the factory.

In addition, Sinn also published a short letter that included a cue sheet for Kalem's The Cheyenne Massacre, for which Kalem provided a musical score. The ad on the left prominently mentions the special score, which was available for the very nominal cost of 15¢. The letter writer nevertheless rejected the score as impractical, since his theater used an orchestra, which would have meant orchestrating the piano score. The large variability of theater orchestras was one of the difficulties that such "special music" had to negotiate, and it remained a block to the widespread adoption of original scores throughout the silent film era.

A very important adjunct to the orchestra—especially the moving picture orchestra—and one which is growing in favor every day is to be found in the musical bells, chimes, marimbaphones and instruments of like character, as well as xylophones and orchestra steel bells. To J. C. Deagan more than any other man is due this growing popularity of these instruments. Mr. Deagan has done two very important things toward this end; first, he has evolved a very superior bell. Second, by means of his clever electric appliances any ordinary pianist or drummer can play them. Also, being of so simple construction, a boy of average intelligence can install them. Of course, he has long made a feature of bells and xylophones, etc., for artists’ use, but undoubtedly the impetus given to the demand for these instruments in late years is due principally to J. C. Deagan’s electric inventions which make their playing an easy matter. It takes long practice to acquire the even “roll” necessary in playing the xylophone or steel bells; it takes none to manipulate a Deagan key-board and get the same result.

A favorite manner of installing the bells is to string them around the auditorium high above the heads of the audience. Some years ago as perhaps you remember, when any one of the bells was installed got out of order, you had to place a ladder under the bell in question and climb up to fix it. Mr. Deagan has eliminated all of this. By his “no contact” mechanism he has reduced their chances of getting out of order to a minimum; and if they should need regulating (which is seldom) it can be done by the performer without leaving his seat. They can be played loud or soft at will; single stroke or roll as desired. A shut-off key is provided; drummers will appreciate this feature who remember the discordant jangle resulting from accidentally touching the key-board when reaching over for some “trap.”

I visited the factory of J. C. Deagan the other day and was much impressed by what I saw there. He occupies three floors of the pretentious Deagan Building in Chicago—25,000 feet of space on each floor—75,000 feet of floor space in all, in addition to the out buildings, dry-rooms, etc. Every thing but the wood and metal is made in the factory. The wood (for the xylophones) is cut especially for J. C. Deagan in Australia; the metal for bells, chimes, etc., is made to order by a special process. These raw materials are received at the Deagan factory and are cut, shaped, polished, tuned, plated and a lot of other things by expert artisans to become the things of beauty which you finally see and hear in the exhibiting department. There were orchestra bells to be played by hand and by electric key-board. Other electric bells in such profusion that space forbids naming them. Electric cathedral chimes; these are the same shape as the usual chimes; long tubes of a beautiful tonal quality with a hammer fixed to strike in exactly the right place and operated from a key-board. The chimes may be placed in the orchestra, lobby or any part of the house. (The same is true of all the J. C. Deagan electrical instruments.)

An electrical marimbaphone was also shown. It is impossible to convey a definite idea of this instrument. Though made of steel bars with resonators and is the same shape as a xylophone, its tone especially on the low and medium notes is something like that of an organ. The illusion was more pronounced when heard at a little distance. Mr. Deagan describes its tone quality as “like that of musical glasses,” but he is too modest; the tone is bigger and fuller than any musical glasses I ever heard. I saw a large xylophone which is played from an electric key-board also. The hammers are of the regular type—hard wood heads and rattan handles, thus insuring the correct tone—and any piano player can play a xylophone solo upon it that would be the envy of any expert xylophonist. This can be hung in the lobby of your theater if desired. I haven’t got room here to tell all the interesting things I saw, but the J. C. Deagan catalogues may be had for the asking and they will tell you more things than I can and tell them better. We visited the plating-room, where each article to be plated receives at least three coats; some of them more. They are just completing a new instrument called the “Nabimba.” This will probably be on the market by the time your read this article, otherwise I would be chary of mentioning it at all. It looked like a xylophone—bars of wood with resonators suspended beneath. When struck with the hammer two tones were produced, one the regular xylophone tone, the other a sustained reedy tone something like the low notes of a clarinet. Impulsively I looked to see where “the wind came from” to make such an effect. Of course, I couldn’t find anything of that sort, but had me guessing and I said so. “You keep right on guessing,” said J. C., “and come away before you see too much. I only wanted you to hear it, not examine it.” That’s all I can say about it, only that it is a wonder. And I am still guessing.

* * *
From the “Crown Theater,” Hartford, Conn.: “I am enclosing my musical program to Kalem’s ‘The Cheyenne Massacre.’ Though they had a special piano score for this picture, I did not use it, as I would have had to make an orchestration. My orchestra consists of five men in the winter and four in the summer. At present I am using violin, cello and flute, which can’t be beat for playing pictures and for good music. People want good music and not noise. I have a large library of nearly all the standard overtures, selections, waltzes, etc., and keep a record of all I play, so my audience don’t hear the same music all the time. I change programs three times a week; every number is changed and not played for months again, except when some number is repeated by request. I have trained my men so they have all the cue-music at their finger tips—the whole orchestra—so it is as easy for me to play a picture with them at it is alone on the piano. Every leader should have his men learn all the National airs, a gallop, a march, a waltz and dramatic music, so they can play it the moment he wants it. In that way a picture can be played at sight, then at the end of that picture he can arrange a program for it. The following picture went pretty good the first time and fine the second, so I had the whole program made up of pretty good music.”

“THE CHEYENNE MASSACRE” (Kalem).

Part First.

1. “Brides and Butterflies Waltz.” Play introduction while title is on; as the first scene appears (dancing) segue to the waltz. Until title: “Next Morning, Chief Swift, etc.”
2. “Indian Summer Intermezzo” until title: “That Night.”
3. “Garden of Dreams Serenade” until Indians are seen.
4. “Tom-Tom Intermezzo” until fight scene starts.
5. Agitato until boy is seen standing alone near ruins.
6. “Alpine Rose—a Flower Song” until scene exterior of post appears; watch for bugle call, then segue.
7. “The Twelfth Regiment March” until end of reel.

Part Second.

1. Introduction of “Danube Waves” waltz until the title is on.
2. Agitato until title: “Vengeance of the Red Men.”
3. “Big Chief Battle Axe” (Indian Novelty) until title: “Lieutenant Ellis Volunteers, etc.”
4. “Venetian Water Waltz” until Indians are seen.
5. Agitato until man with shawl meets Indian girl, then:
6. Chorus of “Silver Bell” or “Red Wing” until he jumps on horse.
7. “Petersburgh Sleighride Galop” until title: “The Attack of Fort Bryson.”
8. Agitato until bugler blows bugle.
9. Bugle call, Siegel march, “Weinblut Wein” until soldiers are seen on hill with American flag.
10. “Red, White and Blue” until fight starts, then:
11. Agitato until title: “After the Battle.”
12. “Boy Scout March.” Lieutenant puts his arm around the girl.
13. “Star Spangle Banner.”

“Read this over a couple of times and arrange your music in this order. You don’t have to use the same waltzes or marches. Play any you have and you will find this program O.K. Let me hear from those who use it. Yours,

R. J. Besette, Musical Director “Crown Theater,” Hartford, Conn.

[1021]

I am afraid I have not got your name correctly, Brother B., as you did not write it distinctly. However, your method of playing to the pictures with an orchestra is correct all right. The only way to get results is to have a lot of music “at your finger tips”—as you say: “every man in the orchestra.” This applies particularly to the dramatic music, as it enables all to watch the picture. Will be glad to hear from you again.

* * *

“WAMBA: A CHILD OF THE JUNGLE” (Selig).

Part One.

1. “Daisies” (Bendix; pub. Witmark). First part only until title: “Dr. Rice of the Settlement.” Then second movement through two scenes.
2. “Mystic Shrine” (Earl Cameron; pub. Carl Fischer). Until Wamba arrives at Dr. Rice’s home.
3. “Idle Thoughts” (Harry von Tilzer). Until after title: “Wamba’s Baby Dies.” Continue No. 3 until Doctore breaks the news to Wamba; then:
4. Plaintive until end of scene.
5. Agitato p. and f. until Doctor R. orders Pete away.
6. Short sentimental until end of scene.
7. “Flight of the Birds” (or any pretty caprice or novelette) until end of Part One.

Part Two.

1. Agitato; through first scene. Then subdue for second scene or short neutral. At end of second scene:
2. Long agitato p. and f. for flight and pursuit by lions; continue until child climbs up the river bank.
3. Short Intermezzo (“In Cupid’s Garden”—pub. by T. B. Harms), until Dr. Rice and wife enter house.
4. Agitato until child seen crossing glade.
5. “Mozembique” (Oriental intermezzo by Gruenwall; pub. by O. Ditson), until lion comes to child’s hiding place in log.
6. Agitato until Dr. Rice and party leaves Pete’s shack.
7. “Amina” (Paul Lincke; pub. by Stern), until end of picture.

* * *

A FIGHTING CHANCE (Vitagraph).

1. Novelette until girl is seen at piano.
2. “That’s How I love You” (follow pianist in picture).
3. At change, back to No. 1 until: “Not Knowing Wynne Is Married.”
4. Waltz until they enter restaurant.
5. “If You Talk In Your Sleep, Don’t Mention My Name.” When at piano.
6. “That’s How I Love You” (short), then:
7. Waltz lento until: “The Firm Sends Wynne on a Four Months’ Tour.”
8. “Pearls” (Moret) until: “A Stranger to the Wife, etc.”
9. Waltz lento until: “Preparations to Leave for the City.”
10. “Dimples” (Bratton) until: “Learning the Charm of Grace.”
11. Waltz (for dancing) until change of scene.
12. Restaurant scene. Popular cabaret music, “Home From His Trip.”
13. Waltz (Neutral) until: “The Appointment.”
14. “You’re a Great Be Blue-Eyed Baby” until he sees his wife in box.
15. “If You Talk In Your Sleep, etc.” very softly, crescendo at change of scene. When he meets his wife.
16. Sentimental until she plays piano; then:
17. “That’s How I Love Your,” until end, dying away with picture.

Source: Clarence E. Sinn, “Music for the Picture,” Moving Picture World 7 June 1913, 1020-21.
Image Source: Moving Picture World 26 April 1913, 409.