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Unity, ambiguity, and flexibility in theme music for game shows = a winning combination /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Unity, ambiguity, and flexibility in theme music for game shows/ by Christopher Gage.
其他題名:	a winning combination /
作者:	Gage, Christopher.
出版者:	Cham :Springer Nature Switzerland : : 2024.,
面頁冊數:	xv, 92 p. :ill. (some col.), digital ;24 cm.
內容註:	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.
Contained By:	Springer Nature eBook
標題:	Television music - History and criticism. -
電子資源:	https://doi.org/10.1007/978-3-031-46806-3
ISBN:	9783031468063

Unity, ambiguity, and flexibility in theme music for game shows = a 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

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

854742
Television music
--History and criticism.

LC Class. No.: ML2080

Dewey Class. No.: 781.546

Unity, ambiguity, and flexibility in theme music for game shows = a winning combination /
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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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