Buddy Baker Bruce Broughton George Bruns John Debney
Gavin Greenaway James Horner John Wiliams etc ...
 

sa petite révision honore les hommes et malheureusement très peu de femmes qui sont la raison pourquoi le SON DE MAGIE est venu à la naissance. Les hommes avec le talent exceptionnel d'apporter la musique au papier, qui nous suit à la maison après le fait de quitter les parcs, en créant un endroit permanent dans notre mémoire.La musique qui a un pouvoir émotionnel qui apporte des déchirures et excitment dans vos yeux. Quels sont les Pirates du Caribbeans sans la Chanson *Yohoo* réputée ? Qui se soucie du Manoir de Fantôme sans le score orchestral mélancolique ?Une Attraction de Disney sans l'air juste est incomplète. Comme nous ne pouvons pas imaginer pour ne plus marcher par les parcs sans l'humeur musicale accompaning.
This little review honors the men and unfortunately very few women who are the reason why THE SOUND OF MAGIC came to birth.
The men with the outstanding talent to bring music to paper, that follows us home after leaving the parks, creating a permanent place in our memory.
Music that has an emotional power which brings tears and excitment into your eyes.
What are the Pirates of the Caribbeans without the famous *Yohoo* Song?
Who cares about Phantom Manor without the melancholic orchestral score?
A Disney Attraction without the right tune is incomplete. As we cannot imagine
anymore to walk through the parks without the accompaning musical mood.

DISNEY VIT DES AIRS RÉCONFORTANTS.

Malheureusement beaucoup de ces hommes vont non crédités. Par exemple, le Cimetière de Manoir Hanté avec les pierres tombales personnalisées donne le crédit aux créateurs de cette attraction successfull.Tous sauf un : le copain Baker, dont plus vivant que la Chanson "GrimGrinningGhosts" semblante morte est une des mélodies les plus réputées des Parcs de Disneyland. Et il n'est pas même mentionné dans le "A-Z Tout Disney Encylopedia".

À une époque précédente les crédits et indivuals n'ont pas existé dans peu de monde de Disney. Et c'est toujours un projet tout seul pour apprendre qui défend un score d'attraction. Les temps ont changé heureusement...Les événements spéciaux (llike le 30ème anniversaire du Manoir Hanté) ont montré l'intérêt gigantesque des fans pour la "réalisation of's" et les talents créateurs derrière une attraction.

DISNEY LIVES FROM HEART-WARMING TUNES.

Unfortunately many of these men go uncredited.For instance, The Haunted Mansion Graveyard with the personalized tombstones gives credit to the creators of this successfull attraction. All except one: Buddy Baker, whose more lively than dead sounding "GrimGrinningGhosts" Song is one of the most famous tunes in Disneyland Parks. And he is not even mentioned in the "A-Z All Disney Encylopedia".

In earlier times credits and indivuals did not exist in Disney's little world. And it is still a project on its own to find out WHO stands behind an attraction score. Times changed fortunately... Special events (llike the 30th anniversary of the Haunted Mansion) showed the fans' tremendous interest in the "making of's"and creative talents behind an attraction.

Sur les pages suivantes je veux présenter quelques compositeurs qui font d'une manière ou d'une autre partie de la Magie de Parc à thème de Disney.Envoyez-moi s'il vous plaît n'importe quels renseignements supplémentaires que vous pourriez avoir, faire cet endroit à une révision source et biographique détaillée pour les fans qui s'intéressent aussi à

On the next pages I want to present a few composers that in one way or another are part of the Disney Theme Park Magic. Please send me any additional information you might have, to make this place to a detailed source and biographical review for fans who are also interested in
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Norman *Buddy* Baker is responsible for a good bunch of Disney Theme Park Sounds. His musical quality is renowned as numerous awards and honors proove. He holds an A.A. and Doctor of Music Degree from Southwest Baptist University. In 1954 Dr. Baker joined Walt Disney Productions where he remained for 28 years as Composer/Musical Director. During that period he scored more than fifty feature films, over 150 television features, and the *Disney on Parade* arena show. He also served as Composer/Musical Director of WED Enterprises (now WDI), where he scored music for Disneyland, Walt Disney World, EPCOT, and Tokyo Disneyland. He has conducted his Disney theme park music and motion picture scores with The Philadelphia Orchestra, the Royal Philharmonic Orchestra of London, and the Graunke Symphony Orchestra of Munich. He has also conducted Disney Programs at the Hollywood Bowl and Radio City Music Hall. He was honored by the Country Music Association for his *Outstanding Contribution to Country Music*. He received the President's Award from the Film Music Society for outstanding contribution to film music education at the USC Thornton School of Music. He received the treasured *Diamond Circle Award* from the Pacific Pioneer Broadcasters for his many years of radio and television broadcasting. In 1995 he was awarded the National Fantasy Fan Club *Disney Legend Award* and the American Society of Composers, Authors and Publishers (ASCAP) presented him with their coveted *Lifetime Achievement Award.*
 

Please visit the tribute to Buddy Baker.

Adventure Thru Inner Space
American Adventure
America the Beautiful
Carousel of Progress (World Fair 1964)
Country Bear Jamboree
Great Moments with Mr. Lincoln
Haunted Mansion
If You Had Wings
Impressions de France
Innoventions
It's Fun To Be Free
It's A Small World (additional scoring)
Journey to the Center of the Earth
Kitchen Kabaret
Listen to the Land
Magic Carpet 'Round the World
Many Adventures of Winnie the Pooh
Mexican Pavillon
People Mover
Sindbad's Seven Voyages
Swiss Family Tree House
Universe of Energy
Winnie the Pooh
Wonders of China
World of Motion

It is virtually impossible to find any information about Gavin. I hope this changes in he future.
Born on June 15th, 1964 as the son of the professional songwriter Peter Greenaway.
Gavin attended Trinity College of Music in London studying composition. He was awarded the Performer's Licentiate Diploma and was the winner of the Chopin Prize and the John Halford Composition Prize in 1985. While still attending Trinity, Greenaway joined **Media Arts Group*, a UK-based artificial performance group, which allowed him to compose music and perform it in festivals throughout England and Scotland. During this time, he met artist Michael Petry and composer John Powell, both of whom he still works with, creating soundtracks to Petry's art installations exhibited in London, Cologne, Los Angeles, Houston, and Tokyo. In 1987, Greenaway took a position at Air-Edel, a leading UK producer of film, TV, and advertising music. After gaining much experience in scoring, he left Air-Edel to form *Independently Thinking Music* with John Powell in 1984. He conducted performances of the London Philharmonic Orchestra, and composed over 100 episodes of television dramas and documentaries. He also conducted The Gambler and Gaudi, the award-winning musicals by Eric Woolfson. In 1997, Greenaway and Powell moved I.T.M. to Los Angeles. Most recently, Greenaway completed two large composing projects for Walt Disney World in Orlando, Florida which is *Tapestry of Nations* and *Reflections of Earth*.
 

James was born August 14, 1953 in Los Angeles. He studied music at the Royal College of Music in London, England. In the 70's he and his family moved back to Los Angeles, where Horner studied at the USC, gaining a Bachelor's art degree in composition. After earning a Masters degree and a PHD in music composition and theory at UCLA he teached music theory at the same university for a couple of years. But many found Horner's new scores to sound too much like his older ones. He was also accused for stealing, and borrowing, music from other composers, making Horner one of the most controversial composers in Hollywood. The composer's early interest in avant-garde musical techniques helped define his personal style, which often blends traditional harmonies and a conventional orchestral palette with the texture of ethnic instruments and even electronic sounds. Film scoring became an obvious choice for Horner, though he brings to it the perspective of the classical composer and conductor. *Films speak to me right away,* he commented. *The atmosphere, the overall mood dictates the kind of orchestra I will use. Watching a film the first few times, I make a charcoal sketch; later I put the colours in.* In recording his own film scores, Horner often creates his own orchestrations and prefers to conduct the orchestra directly to picture, instead of using click tracks or other mechanical timing devices.
 

The *Mozart* of filmmusic.
He also admits that he is worried about the Oscars he looses to other composers.
John Williams born 1932 studied music at the University of California in Los Angeles. He joined the Air Force in 1951 for three years, returning to his studies as a pianist at the Julliard School of Music, New York. He was hired by Columbia Pictures in 1956 as a session pianist in film orchestras. He became fascinated with scoring for film and less interested in being a concert pianist so he moved to 20th Century Fox and became involved in arranging and orchestration. As 'Johnny' Williams, he wrote scores for classic TV series. This led onto work with the Director and Producer of 'Lost in Space'. Then came Steven Spielberg and the rest is history...
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