Abstract
This chapter will discuss the history of game show music and the current state of game show scholarship. Since such scholarship is nonexistent, the introductory chapter will serve to highlight the need for this kind of research. The closest area of study to game show music is video game music, another flexible form, and a survey of this field will show the differences between the two genres. This chapter will end with a brief overview of game shows of the twentieth and twenty-first centuries, as well as a clarification as to which programs will be discussed.
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Notes
- 1.
Claudia Gorbman, “Narrative Film Music,” Yale French Studies, no. 60 (1980): 183.
- 2.
David Neumeyer, “Film Music Analysis and Pedagogy,” Indiana Theory Review 11 (1990): 15.
- 3.
Frank Lehman, “Hollywood Cadences: Music and the Structure of Cinematic Expectation,” Music Theory Online 19, no. 4 (2013).
- 4.
Lehman.
- 5.
James Deaville, “A Discipline Emerges: Reading Writing about Listening to Television,” in Music in Television: Channels of Listening, ed. James Deaville: 11.
- 6.
Deaville, 18.
- 7.
Tim Summers, “Analysing Video Game Music: Sources, Methods and a Case Study,” in Ludomusicology: Approaches to Video Game Music, ed. Michiel Kamp, Tim Summers, and Mark Sweeney (Sheffield, UK: Equinox, 2016), 18.
- 8.
Lehman, “Methods and Challenges of Analyzing Screen Media,” in The Routledge Companion to Screen Music and Sound (New York: Routledge, 2017), 501.
- 9.
Elizabeth Medina-Gray, “Analyzing Modular Smoothness in Video Game Music,” Music Theory Online 25, no. 3 (2019).
- 10.
Leonard Meyer, Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956), 51.
- 11.
Meyer, 163.
- 12.
David Huron, Sweet Anticipation: Music and the Psychology of Expectation (Cambridge: MIT Press, 2006), 240.
- 13.
Huron, 271.
- 14.
“Clean” copies of theme songs, as well as their many different versions, can be found online at the Museum of Television Production Music (https://www.tvpmmvault.com/), which has proven to be an invaluable resource.
References
Deaville, James. 2011. A discipline emerges: Reading writing about listening to television. In Music in television: Channels of listening, ed. James Deaville, 7–33. New York: Routledge.
Gorbman, Claudia. 1980. Narrative film music. Yale French Studies 60: 183–203.
Huron, David. 2006. Sweet anticipation: Music and the psychology of expectation. Cambridge: MIT Press.
Lehman, Frank. 2013. Hollywood cadences: Music and the structure of cinematic expectation. Music Theory Online 19 (4).
Match Game. 1973–82. Produced by Mark Goodson-Bill Todman Productions.
Medina-Gray, Elizabeth. 2019. Analyzing modular smoothness in video game music. Music Theory Online 25 (3).
Meyer, Leonard. 1956. Emotion and meaning in music. Chicago: University of Chicago Press.
Neumeyer, David. 1990. Film music analysis and pedagogy. Indiana Theory Review 11: 1–27.
Password. 1961–67. Produced by Mark Goodson-Bill Todman Productions.
———. 1971–75. Produced by Mark Goodson-Bill Todman Productions.
Summers, Tim. 2016. Analysing video game music: Sources, methods and a case study. In Ludomusicology: Approaches to video game music, ed. Michiel Kamp, Tim Summers, and Mark Sweeney, 8–31. Sheffield: Equinox.
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Gage, C. (2024). Introduction. In: Unity, Ambiguity, and Flexibility in Theme Music for Game Shows. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-46806-3_1
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