This article was first released in Film and TV Music (November-December 1950).
When I went back in retrospect to our discussion of the music before Paul Smith began the Beaver Valley score, and when I began to consider the task of explaining some of our problems to an audience, I remembered an article by Robert U. Nelson published several years ago in The Pacific Spectator. Its title was The Craft of the Film Score. Mr. Nelson pointed out that music for films and concert music are two different mediums: […]
