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Fantasy Aspects, issue 1, May 1947
Page 9
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FROM GROTESQUE BY Bob Gaulin FANTASY MUSIC: IS; ISN'T? Three fans were sitting near a phonograph which was thumping out the vigorous strains of "Bolero". The first shook his head and stated, "No!" while the second jumped up and yelled, "Yes, it's fantasy!" I'd rather not side with either of them, because the third fan was probably right. I do believe there is such a thing as fantasy music, but only for some people. There's no sense arguing that there is or isn't, for even those who believe that it exists cannot always agree on any specific list. Music cannot be said to be "fantastic," but the interpretation may often be classed as fantastic. Tschaikowsky's Sixth Symphony is a representation of what may be labeled as "tragic" music. The music imparts and effect and interpretation that is tragic. Some argue that this is achieved only by use of a minor key. Well, how else can a composer get effects which may be termed as fantastic? Oriental music, while it is set not only to a minor key, but in a scale altogether different from ours, is rarely termed as fantastic. It may not always work, but a good test for music that you may consider fantastic is trying to conjure some sort of science-fictional or fantastic vision in your mind while playing the piece. If it isn't too difficult to do so, you've another item for your own list. All other fans won't verify your choice though, so it wouldn't be sensible to try to force it on them. Background music, such as that used in radio or in movies cannot along cause any sort of "mirage". It relies upon the action, which in turn, relies upon it for effect. This music does nothing more than set a mood of unreality, strangeness, or even mystery. And, no matter who is listening, he will interpret it in either a weird, mysterious, or unreal manner. Groggy's editor and I have about the same index on interpretation. We both can envision parts of certain symphonies as bearing a theme of spaceflight, although we argue bitterly concerning other pieces. It is not intended that you use this music (which I have termed a "symponsium") as a checklist of fantasy music which we have compiled, but rather as a tentative portrait of space-flight, to which you may add or subtract pieces that you do or do not influence your thoughts in any way. This "symposium" follows: Andante Cantabile, Tschaikowsky's Sixth: Rocket-building due to catastrophe, (disease or the like) which is also protrayed; planning; loading preparatory to flight. Finale, Tschaikowsky's Fifth: March of the Rockets. Allegro, Dvorak's Fifth: Take-off; last look at Earth. Tone Poem, "Mars," from "The Planets," by Holst; Flight through space: approaching planet of settlement. Perhaps something from Szostakowicz could be used to depict alien life on the new planet. Each fan can have his own symposium if he wishes, concerning robots, time machines, etc., but I warn him not to try to force it on another fan. -------------------------- From the Fall 1946 Grotesque, published by Ron Christenson. ---( Page 9 )---
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FROM GROTESQUE BY Bob Gaulin FANTASY MUSIC: IS; ISN'T? Three fans were sitting near a phonograph which was thumping out the vigorous strains of "Bolero". The first shook his head and stated, "No!" while the second jumped up and yelled, "Yes, it's fantasy!" I'd rather not side with either of them, because the third fan was probably right. I do believe there is such a thing as fantasy music, but only for some people. There's no sense arguing that there is or isn't, for even those who believe that it exists cannot always agree on any specific list. Music cannot be said to be "fantastic," but the interpretation may often be classed as fantastic. Tschaikowsky's Sixth Symphony is a representation of what may be labeled as "tragic" music. The music imparts and effect and interpretation that is tragic. Some argue that this is achieved only by use of a minor key. Well, how else can a composer get effects which may be termed as fantastic? Oriental music, while it is set not only to a minor key, but in a scale altogether different from ours, is rarely termed as fantastic. It may not always work, but a good test for music that you may consider fantastic is trying to conjure some sort of science-fictional or fantastic vision in your mind while playing the piece. If it isn't too difficult to do so, you've another item for your own list. All other fans won't verify your choice though, so it wouldn't be sensible to try to force it on them. Background music, such as that used in radio or in movies cannot along cause any sort of "mirage". It relies upon the action, which in turn, relies upon it for effect. This music does nothing more than set a mood of unreality, strangeness, or even mystery. And, no matter who is listening, he will interpret it in either a weird, mysterious, or unreal manner. Groggy's editor and I have about the same index on interpretation. We both can envision parts of certain symphonies as bearing a theme of spaceflight, although we argue bitterly concerning other pieces. It is not intended that you use this music (which I have termed a "symponsium") as a checklist of fantasy music which we have compiled, but rather as a tentative portrait of space-flight, to which you may add or subtract pieces that you do or do not influence your thoughts in any way. This "symposium" follows: Andante Cantabile, Tschaikowsky's Sixth: Rocket-building due to catastrophe, (disease or the like) which is also protrayed; planning; loading preparatory to flight. Finale, Tschaikowsky's Fifth: March of the Rockets. Allegro, Dvorak's Fifth: Take-off; last look at Earth. Tone Poem, "Mars," from "The Planets," by Holst; Flight through space: approaching planet of settlement. Perhaps something from Szostakowicz could be used to depict alien life on the new planet. Each fan can have his own symposium if he wishes, concerning robots, time machines, etc., but I warn him not to try to force it on another fan. -------------------------- From the Fall 1946 Grotesque, published by Ron Christenson. ---( Page 9 )---
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