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Unity, ambiguity, and flexibility in theme music for game showsa winning combination /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Unity, ambiguity, and flexibility in theme music for game showsby Christopher Gage.
Reminder of title:	a winning combination /
Author:	Gage, Christopher.
Published:	Cham :Springer Nature Switzerland :2024.
Description:	xv, 92 p. :ill. (some col.), digital ;24 cm.
Contained By:	Springer Nature eBook
Subject:	Television musicHistory and criticism.
Online resource:	https://doi.org/10.1007/978-3-031-46806-3
ISBN:	9783031468063$q(electronic bk.)

Unity, ambiguity, and flexibility in theme music for game showsa winning combination /
Gage, Christopher.

Unity, ambiguity, and flexibility in theme music for game showsa winning combination /[electronic resource] :by Christopher Gage. - Cham :Springer Nature Switzerland :2024. - xv, 92 p. :ill. (some col.), digital ;24 cm.

Chapter 1: Introduction -- Chapter 2: Creating Unity Through Thematic Repetition and Saturation -- Chapter 3: Creating Ambiguity through Metrical, Formal, and Harmonic Disruptions -- Chapter 4: Bonus Round: Nostalgia and the Reboot -- Chapter 5: Conclusion.

With flashing lights, bright colors, and big money, game shows have been an integral part of American culture since the days of radio. While the music that accompanies game shows is charming and catchy, it presents two unique, opposing challenges: first, it must exhibit unity in its construction so that, at any point and for any length of time, it is a tuneful, recognizable signifier of the show to which it belongs; at the same time, it must also possess the ability to be started and stopped according to the needs of gameplay without seeming truncated. This book argues that game show music, in particular from 1960 to 1990, deploys a variety of shared techniques in order to manage these two goals, including theme-derived vamps; saturation of motivic material; and harmonic, rhythmic, and formal ambiguity. Together, these techniques make game show themes exciting, memorable, and perfectly suited to their role. Christopher Gage holds doctorates in music theory and organ performance from the University of Kansas. His research is wide-ranging, from keyboard repertoire before 1700 to twentieth-century game show music. Chris is Director of Music at Overbrook Presbyterian Church in Philadelphia and currently teaches music theory at the University of Delaware.

ISBN: 9783031468063$q(electronic bk.)

Standard No.: 10.1007/978-3-031-46806-3doiSubjects--Topical Terms:

368602
Television music
--History and criticism.

LC Class. No.: ML2080

Dewey Class. No.: 781.546

Unity, ambiguity, and flexibility in theme music for game showsa winning combination /
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505 0 $a Chapter 1: Introduction -- Chapter 2: Creating Unity Through Thematic Repetition and Saturation -- Chapter 3: Creating Ambiguity through Metrical, Formal, and Harmonic Disruptions -- Chapter 4: Bonus Round: Nostalgia and the Reboot -- Chapter 5: Conclusion.
520 $a With flashing lights, bright colors, and big money, game shows have been an integral part of American culture since the days of radio. While the music that accompanies game shows is charming and catchy, it presents two unique, opposing challenges: first, it must exhibit unity in its construction so that, at any point and for any length of time, it is a tuneful, recognizable signifier of the show to which it belongs; at the same time, it must also possess the ability to be started and stopped according to the needs of gameplay without seeming truncated. This book argues that game show music, in particular from 1960 to 1990, deploys a variety of shared techniques in order to manage these two goals, including theme-derived vamps; saturation of motivic material; and harmonic, rhythmic, and formal ambiguity. Together, these techniques make game show themes exciting, memorable, and perfectly suited to their role. Christopher Gage holds doctorates in music theory and organ performance from the University of Kansas. His research is wide-ranging, from keyboard repertoire before 1700 to twentieth-century game show music. Chris is Director of Music at Overbrook Presbyterian Church in Philadelphia and currently teaches music theory at the University of Delaware.
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