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 ballet in that it depends entirely upon action (it differs from a ballet in that the action is not necessarily rhythmic), and who ever heard of a ballet being performed without music? Sound certainly has its value in creating an atmosphere and in emphasizing the thrill of the moving-picture, especially when that sound is selected and coordinated. It may also serve to divert the attention. The musical directors of the motion-picture theatres have tried to meet this problem; that they have not so far been wholly successful is not entirely their fault.

It is no simple matter, for example, in a theatre in which the films are changed daily, a general rule even in the larger houses, for a musician to arrange a satisfactory accompaniment for five thousand feet of action which may include anything from an earthquake in Cuba to a dinner in Park Lane, and it is scarcely possible, even if the distributors be so inclined, which they frequently are nowadays, to furnish a music score which will answer the purposes of bands of varying sizes, ranging from an upright piano, solo, to a full orchestra. As for the pictures without prearranged scores, the orchestra leaders and pianists must do the best they can for them.