VAST as is the gulf that separates the tinkling piano of the early bioscope theatres, with its repertoire of a dozen stock tunes, from the organs and symphony orchestras of the great movie cathedrals of London and New York, much has still to be done to achieve a true unity between the film shown and the music that accompanies it. This problem is very much present in the minds of those who are trying to enhance the msthetic appeal of the movies, and some of the means proposed to solve it will be discussed by Mr. Shepherd, who wes formerly director of the New Gallery Kinema, one of London's most progressive picture houses.