As movie theatres proliferated in the decade before World War I, musical accompaniments became more lavish and systematic. Resident instrumental ensembles and specialized cinema organs (notably the Wurlitzer and Kimball) supplanted the solo pianist, while a music director arranged appropriate repertory from (preferably non-copyright) classics and an increasing body of original compositions; passages of classical music might be linked by specially composed or improvised transitions. As early as 1909 Edison Pictures distributed cue sheets with their films to encourage the selection of appropriate musical numbers, and music publishers printed anthologies of motion-picture music organized by mood or dramatic situation, to which the distributors’ cue sheets made cross-reference: American pioneers of this approach were Max Winkler and John S. Zamecnik. Giuseppe Becce’s Kinothek (= Kinobibliothek), published in Berlin in 1919, was a much imitated example, and Becce later collaborated with Hans Erdmann and Ludwig Brav to produce the encyclopedic Allgemeines Handbuch der Filmmusik in 1927. Several of the themes and techniques popularized by these anthologies became clichés that remain firmly in the popular imagination today, such as the use of diminished 7ths for villains, ‘weepie’ love themes on solo violin and the bridal march from Wagner’s Lohengrin for wedding scenes. Live or recorded music was often performed on film sets during shooting to establish a specific mood to which the actors could respond, a procedure occasionally used by modern directors such as John Ford, Sergio Leone, Ken Russell and Peter Weir.