I could write a scholarly piece on this if I tried. But this morning, listening to Vincent d’Indy’s Souvenirs, op. 62, I find late Romanticism meeting and merging with early cinema, and intuit the great connection. Perhaps the psychology of movie narrative is deeply indebted to the psychology of Romantic orchestral composition.
Then I think of Schumann’s reference (re the Schubert C-major symphony) to “heavenly length, like an old novel in four volumes,” and I think that large-scale symphonic form owes its birth to the great novels of the 18th century.
So the novel begat the tone poem, and the tone poem begat the moving picture. In a sense.
In the beginning was the Word, and the Word begat song, and the song begat the icon. Yes, works for Christianity.
Hell. This is halfway between the painfully obvious and the painfully deep.