03117nam a22004575i 4500001001800000003000900018005001700027007001500044008004100059020003700100024003500137050001200172072001600184072002300200072001500223100008700238245014000325250001800465264007900483300006100562336002600623337002600649338003600675347002400711505026200735520127500997650002502272650003602297650001802333650002802351650003102379650002602410710003402436773002602470776003602496776003602532856004602568912001402614912001402628999001702642978-3-031-46806-3DE-He21320251030112021.0cr nn 008mamaa240430s2024    sz |    s    |||| 0|eng d  a97830314680639978-3-031-46806-37 a10.1007/978-3-031-46806-32doi 4aMT5.5-7 7aAVA2bicssc 7aMUS0410002bisacsh 7aAVA2thema1 aGage, Christopher.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut97609610aUnity, Ambiguity, and Flexibility in Theme Music for Game Showsh[electronic resource] :bA Winning Combination /cby Christopher Gage.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXV, 92 p. 8 illus., 1 illus. in color.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda0 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.  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. 0aMusic theory.974241 0aTelevision broadcasting.967524 0aGames.96657014aTheory of Music.97424224aTelevision Studies.96802224aGames Studies.9665722 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303146805608iPrinted edition:z978303146807040uhttps://doi.org/10.1007/978-3-031-46806-3  aZDB-2-LCM  aZDB-2-SXL  c59534d59534