Verna Arvey
Present Day musical films and How they are made possible
January, 1931
From The Etude 49 (Jauary 1931): 16-17, 61 and 72

This reading was about how present day musical films become available and how the music and film combined smoothly nowadays. It is sort of stating the transition between silent movies and musical films. According to the reading, ‘the choice of music was left largely to the organist, pianist, or orchestra leader’. However, in order to create musical films, it is much more complicated than just one or two people works on the music. The reading explains how the music is recorded in the studio with many experts in each area such as film director, music director, artists, and the actors. Not only recording the original songs is important but the author says mixing and accuracy makes the perfect synchronization between the music and the film.

George Antheil
Composers in Movieland
January/February 1935
From Modern Music 12, no. 2 (January/February 1935): 62-66

From the reading, I was able to assume the author George Antheil is a composer or someone who know about the composer industry well at the time. In this reading, the George Antheil talks about how the composers make the music for motion pictures. One composer has the authority in its production in order to decrease the confusion and complication. In Hollywood, they kept around 17-30 composers to create a music for the film. One head composer will have a meeting with film director prior to compose for making his own agenda and ideas about the music he/she has to create. Then this work would be divided into those composers in the studio. They separate the works by theme such as one composer writes love music, and another writes intense music and so on. This method is very practical and cost effective. Then these music would undergo detailed process such as editing, effecting in order to create perfect fit for the film.

Max Steiner
Scoring the Film
1937
From We make the movies, edited by Nancy Naumburg (New York: W. W. Norton, 1937), pp. 216-31.

In 1930, When the film industry was overproducing musical type films, they were economically hurting or losing lots of money by paying few chosen singers and musicians. However, the rapid development of sound technique made lots of new way of making film music possible. Also, re-recording has developed a lot and finally composer may score music after the film production has been done. In this time, in film industry, music in the film credited generously high. As the completion of the film, the author, the composer received it. Then he starts to create a cue sheet like a brainstorming. He creates theme songs for each character and circumstances for right timing. Then he details his music by replaying and figure out what music need to be created for small and big parts of the film. And Max Steiner explains detail about creating the film scoring of the music.

Aaron Copland
Music in the Films
1941
From Our New Music (New York:McGraw-Hill, 1941), pp. 260-75

In the music in the films, Aaron Copland explains the importance of the music within the film. He says it is needed because it helps the film to be perfect. However, the music must be making sense in order to be helpful to movie. The creation of the score of a film starts when the film production has been done. He says the movie score is about 40 minutes and the composer has about two weeks to make it. He mentions the purpose of the film score is to make the film more effective. He also explains and attributes about the three devices such as background music, leitmotiv and Mickey Mousing. Not only has that he argued that the composer in the Hollywood does not care much about their reputation outside of west coast. He said most Americans are first contact the music in the theaters. He encourage those composers to invest more time on their work because he believes this would raise the cultural level of music