soundtrack as a viable, and important, “album” of the 20th century. So it goes with Andrew Schartmann’s book which takes a look at Koji Kondo’s Super Mario Bros. It wasn’t so much about the album as it was about critical taste in general and explored why so many people, himself included, have a negative reaction to Dion’s music even though most of us will only have heard one of her songs (you know the one) if any. I’ve read the ones about bands I love like The Beatles, The Pixies, Nirvana, and Elliott Smith, but occasionally they put out some more abstract books, like Carl Wilson’s on Celine Dion’s Let’s Talk About Love. It wasn’t so much about the album as it was about critical taste in general and explored why so many people, himself included, have a negative reaction to Dion’ The 33 ⅓ series are small paperbacks, usually between 100 and 200 pages long, looking at important albums of 20th century music. The 33 ⅓ series are small paperbacks, usually between 100 and 200 pages long, looking at important albums of 20th century music. As Kondo himself stated, “we were trying to do something that had never been done before.” In this book, Schartmann shows his readers how Kondo and his team not just succeeded, but heralded in a new era of video games.more What musical features are responsible for Kondo's distinct “Mario sound”? How do the different themes underscore the vastness of Princess Peach's Mushroom Kingdom? And in what ways do the game's sound effects resonate with our physical experience of the world? These and other questions are explored within, through the lens of Kondo's compositional philosophy-one that would influence an entire generation of video game composers. He then delves into the music itself, searching for reasons why our hearts still dance to the “primitive” 8-bit tunes of a bygone era. Andrew Schartmann takes us through the various external factors (e.g., the video game crash of 1983, Nintendo's marketing tactics) that coalesced into a ripe environment in which Kondo's musical experiments could thrive. With under three minutes of music, Kondo put to rest an era of bleeps and bloops-the sterile products of a lab environment-replacing it with one in which game sounds constituted a legitimate form of artistic expression. Andrew Schartmann takes us through the various external factors (e.g., the video ga Koji Kondo's Super Mario Bros.
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