Taper

French tapeur, from taper – to clap, tap, play percussion instruments, play too loud, strum on the piano

1) Musician, prim. pianist who plays for a fee at the dance. evenings and balls, in dance classes, gymnastic. halls, etc. Characteristic features will perform. T.’s manners are determined by the applied, not the arts. the nature of the music being played.

2) In a figurative sense, a mechanically playing pianist.

3) An illustrator pianist who accompanies silent films.

Initially, T.’s game was more of a demonstration component (including drowning out the noise of a working movie camera), rather than the content of the film. As cinematography evolved, the functions of television became more complex and transformed. The film illustrator had to master the art of improvisation, to have the ability to arrange the muses. material respectively stylistic. and psychological. characterization of cinematography. In large cinemas, T. often played, accompanied by instr. ensemble or with orchestra under dir. film director. In order to train film illustrators (T.), specials were created. courses, eg. State. film music courses for the training of pianists, film illustrators and orchestra. compilers (1927, Moscow); published special. “Movies” – collections of small plays suitable for illustrating certain. movie fragments. Subsequently, these plays, the number of which all over the world reached several. thousand, were cataloged according to the episodes they illustrated. To synchronize the performance of the film illustrator (and the film conductor), a cine stand and music were constructed. chronometer (rhythmon, 1926) – an apparatus in which a score or rhythmic moves at a certain (adjustable) pace. or melodic. line of music being played.

With the development of sound recording, the advent of sound films (1928), and the spread of sound-reproducing equipment (phonograph, gramophone, gramophone, etc.) in everyday life, the profession of television almost disappeared.

References: N. S., Music in cinema, “Soviet screen”, 1925, No. 12; Bugoslavsky S., Messman V., Music and cinema… Principles and methods of film music. Experience in film music composition, M., 1926; D. Shostakovich, O muzyke k “New Babylon”, “Soviet Screen”, 1929, No. 11; The first Moscow state film music courses for the training of pianists, film illustrators and orchestral compilers, in the book: Kinospravochnik, M.-L., 1929, p. 343-45; Erdmann H., Vecce D., Brav L., Allgemeines Handbuch der Film-Musik, B.-Lichterfelde — Lpz., 1927 (Russian trans. — Erdmann G., Becce D., Brav L., Film music. Manual film music, M., 1930); London K., Film music, L., 1936 (in Russian – London K., Film music, M.-L., 1937, p. 23-54); Manvell R., The film and the public, Harmondsworth, 1955 (Russian trans. – Manvell R., Cinema and Spectator, M., 1957, ch.: Music and film, pp. 45-48); Lissa Z., Estetyka muzyki filmowej, Kr., 1964 (Russian translation – Lissa Z., Estetyka kinomuzyki, M., 1970, p. 33-35); Kracauer S., Theory of film, NY — Oxf., 1965 (in Russian translation — Kracauer Z., Priroda filma, M., 1974, pp. 189-90).

A. T. Tevosyan