How did silent-film musicians fit music to picture timing in 1920, and what basic practices does the manual give a newcomer?

Partially verified: the curator re-read none of the cited sources; S7 rests on the producer's pinned reading. Lang and West (1920) describe a workflow of a producer-supplied cue sheet (received about three days to a week before showing) listing numbered cues with minutes, title or description cues, tempo and suggested selections; the player selects music, times the numbers, the main theme and the improvised spaces, and changes music at scene boundaries. Speed of action sets tempo and lighting sets intensity; a flash-back keeps the music's continuity but raises speed and loudness; a climax should be synchronised with a named action (making the climax of a song coincide with the heroine fainting). They advise not to 'crowd the picture' and say a little silence is welcome. Rapee's 1924 Motion Picture Moods was not publicly readable (lending-only), so only this manual was used. Curator qualifications: Partially verified: the curator re-read none of the cited sources; S7 rests on the producer's pinned reading. Curator GET 2026-10-23 of the sources not re-read (mechanical source evidence, not semantic verification): S7: HTTP 200, bytes differ from the producer pin. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

{
  "citations": [
    {
      "url": "https://archive.org/details/musicalaccompani00lang",
      "note": "candidate evidence excerpts"
    }
  ]
}