LEADER 03153nam 22005415 450 001 9910855392203321 005 20240430124828.0 010 $a9783031468063 024 7 $a10.1007/978-3-031-46806-3 035 $a(CKB)31801775100041 035 $a(MiAaPQ)EBC31313100 035 $a(Au-PeEL)EBL31313100 035 $a(DE-He213)978-3-031-46806-3 035 $a(EXLCZ)9931801775100041 100 $a20240430d2024 u| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aUnity, Ambiguity, and Flexibility in Theme Music for Game Shows $eA Winning Combination /$fby Christopher Gage 205 $a1st ed. 2024. 210 1$aCham :$cSpringer Nature Switzerland :$cImprint: Palgrave Macmillan,$d2024. 215 $a1 online resource (103 pages) 311 08$a9783031468056 320 $aIncludes bibliographical references and index. 327 $aChapter 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. 330 $aWith 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. 606 $aMusic theory 606 $aTelevision broadcasting 606 $aGames 606 $aTheory of Music 606 $aTelevision Studies 606 $aGames Studies 615 0$aMusic theory. 615 0$aTelevision broadcasting. 615 0$aGames. 615 14$aTheory of Music. 615 24$aTelevision Studies. 615 24$aGames Studies. 676 $a741.436579 700 $aGage$b Christopher$01738181 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 912 $a9910855392203321 996 $aUnity, Ambiguity, and Flexibility in Theme Music for Game Shows$94160168 997 $aUNINA