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Vampire, whole no. 7, September 1946
31858063101335_016
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TO THE EIGHTY PER CENT by Gerry de la Ree I have, on several occasions, written articles dealing with that I choose to call "Fantasy's Third Form" -- music. I have written these articles not as an expert on music, but merely as one who enjoys certain types. A small percentage of science fiction fandom -- probably not more than 20% at the most -- collect phonograph records of fantasy music as well as the usual magazines, books, and original illustrations. The other 80-odd per cent are either uninterested in this so-called fantasy music, or are actively opposed to its being classed as such. It is at these fans that this brief article is aimed. Music, of a sympathetic or classical nature, to me appears to have one aim -- to create an atmosphere; and this atmosphere can be one of love and beauty, hate and horror or anything else. I do not readily see how anyone can deny this, but for the sake of those who do, let's take the cinema as an example. Every movie has background music, although I imagine the majority of movie-goers never even realize it. The music generally blends in with the picture, increasing in volume and excitement as the movie does, and so doing, further captures the attention of the audience. Recent pictures which used this musical background effectively are "Spellbound" and "The Lost Weekend". The music from both productions was written by Miklos Rosza and is available on records. ("Spellbound", Signature 15008; "Lost Weekend", Victor 46-0000.) The theme music from both of these movies could be classed as fantasy music, although it would definitely be borderline material. When I speak of fantasy music I have in mind compositions of a much more turbulent or weird nature. The scores from "Spellbound" and "The Lost Weekend" are extremely good, but do not meet this qualification. While we're still on the topic of movie music I might mention Max Steiner, who has turned out some of the best work in this field. Hannes Bok is a rabid Steiner fan and probably one of the few people alive who possesses his recordings of the music from "She" and -16-
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TO THE EIGHTY PER CENT by Gerry de la Ree I have, on several occasions, written articles dealing with that I choose to call "Fantasy's Third Form" -- music. I have written these articles not as an expert on music, but merely as one who enjoys certain types. A small percentage of science fiction fandom -- probably not more than 20% at the most -- collect phonograph records of fantasy music as well as the usual magazines, books, and original illustrations. The other 80-odd per cent are either uninterested in this so-called fantasy music, or are actively opposed to its being classed as such. It is at these fans that this brief article is aimed. Music, of a sympathetic or classical nature, to me appears to have one aim -- to create an atmosphere; and this atmosphere can be one of love and beauty, hate and horror or anything else. I do not readily see how anyone can deny this, but for the sake of those who do, let's take the cinema as an example. Every movie has background music, although I imagine the majority of movie-goers never even realize it. The music generally blends in with the picture, increasing in volume and excitement as the movie does, and so doing, further captures the attention of the audience. Recent pictures which used this musical background effectively are "Spellbound" and "The Lost Weekend". The music from both productions was written by Miklos Rosza and is available on records. ("Spellbound", Signature 15008; "Lost Weekend", Victor 46-0000.) The theme music from both of these movies could be classed as fantasy music, although it would definitely be borderline material. When I speak of fantasy music I have in mind compositions of a much more turbulent or weird nature. The scores from "Spellbound" and "The Lost Weekend" are extremely good, but do not meet this qualification. While we're still on the topic of movie music I might mention Max Steiner, who has turned out some of the best work in this field. Hannes Bok is a rabid Steiner fan and probably one of the few people alive who possesses his recordings of the music from "She" and -16-
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