Introduction (Simon Trezise) / Part One: The evolution of sound and performance practices, the American experience /
1. ‘Better Music at Smaller Cost’: Selling Mechanical Instruments to American Motion Picture Houses in the 1910s (Jim Buhler and Allison Wente) /
2. Musical Suggestions for Hollywood Films, 1908-1927 (Kendra Preston Leonard) /
3. Sing them again: audience singing in silent film (Malcolm Cook) / Part Two: The evolution of sound and performance practices, the global experience /
4. ‘Players Must Be of a Good Class’: Women and Concert Musicians in Irish Picture Houses, 1910-20 (Denis Condon) /
5. Women musicians in the transition between silent and sound cinema (Laraine Porter)/ Part Three: Synchronisation and scoring ? historical practices /
6. Music’s Role in the Development of the ‘Mute’ Feature Film: Ben Hur and Wings (Gillian B. Anderson) /
7. Edmund Meisel’s score to Der heilige Berg (1926): Prefiguring Hollywood’s ‘Golden Age’ narrative-scoring practices in live performance (Fiona Ford) / Part Four - Synchronisation and scoring ? contemporary reworkings /
8. Carl Davis, interview by Simon Trezise /
9. Scenes from Ozu (Ed Hughes) / 10. Damaging a film; rediscovering a film. A Musical Comparison of Three DVD Editions of Nosferatu (Emilio Audissino) /
11. Electroacoustic Composition and Silent Film (Nicholas Brown) /
12. The Modern ‘Silent Film’ (James Wierzbicki) /
13. About the Contributors / Index