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Although it would appear that the moving-picture drama had opened up new worlds to the modern musician, no important composer, so far as I am aware, has as yet turned his attention to the writing of music for the films. If the cinema play is in its infancy, as certain enthusiasts would have us believe, then we may be sure that the day is not far distant when moving-picture scores will take their places on musicians' bookshelves alongside those occupied by operas, symphonies, masses, and string quartets. In the meantime, entirely ignorant of the truth (or oblivious to it, or merely helpless, as the case may be) that writing music for moving-pictures is a new art, which demands a new point of view, the musical directors of the picture theatres are struggling with the situation as best they may. Under the circumstances, it is remarkable, on the whole, how swiftly and how well the demand for music with the silent drama has been met. Certainly the quality of the music is on a level with, or even better than, the type of entertainment offered. Nevertheless, the directors have not squarely