[PDF/EPUB] Koji Kondos Super Mario Bros Soundtrack ☆ Andrew Schartmann



10 thoughts on “Koji Kondos Super Mario Bros Soundtrack

  1. says:

    The 33 ⅓ series are small paperbacks usually between 100 and 200 pages long looking at important albums of 20th century music I’ve read the ones about bands I love like The Beatles The Pixies Nirvana and Elliot

  2. says:

    I found this fascinating though it's probably written for somebody with a lot musical knowledge than I have I kind of ski

  3. says:

    Generally the best 33 13 volumes are the ones that approach the concept of an album differently and in this case the album consists of three minutes of the video game music that soundtracks The Super Mario Bros video game Unfortunately this does not work as well as I thought it wouldThe first part focuses on the video game industry in the 80's and the develop of the Super Mario Bros game This section makes for first class readin

  4. says:

    “Haydn Mozart Beethoven Kondo” Andrew Schartmann’s entry in the 33 13 series is a bit controversialSome call into uestion Super

  5. says:

    Sometimes the 33 13 books are really adventurous Let's Talk About Love A Journey to the End of Taste comes to mind and at others they are heavily padded versions of journal articles or blog posts Schartmann's text belongs in the latter category He spends an inordinate amount of space on Atari's ET game and the mythology surrounding its burial in Alamogordo NM Given that this book is marketed to game music enthusiasts I

  6. says:

    I enjoyed this book as a wholeIn particular I liked the context and history and technological discussions about what videogame music was at the time how it was made and who Kondo approached his design to the Mario SoundtrackThat being said there are parts of this book that went WAY over my head As the chapters progress and Schartmann delves into the music theory and historical context of Kondo's inspirations he lost me I consider myself a f

  7. says:

    gave me a greater appreciation of something that appears to be so simple on the surface I recommend this book for anyone who has an interest in video game history or music composition Full review I received this book for free from

  8. says:

    Smart Incisive Well researched Packed with nerdy music theory but accessible to people who love the music of Super Mario Bros Great use of interviews from the composer and top brass at Nintendo Great read

  9. says:

    While the content gets a bit over my head in terms of music notation I don't fault the book for that obviously the book is successful It explores something that's not often explored Very interesting stuff

  10. says:

    I feel the need to preface this review by emphasizing that I am not the target audience for this series of books I don't know who is but a brief skim of the 144 titles issued under this imprint so far tells me enough to know it isn't me And I'm opening with that because the gap between what interests me about Koji Kondo'

Leave a Reply

Your email address will not be published. Required fields are marked *

CHARACTERS ✓ MUCID.ME ✓ Andrew Schartmann

Koji Kondo's Super Mario Bros 1985 score redefined video game music 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 eg the video game crash of 1983 Nintendo's marketing tactics that coalesced into. The 33 series are small paperbacks usually between 100 and 200 pages long looking at important albums of 20th century music I ve read the ones about bands I love like The Beatles The Pixies Nirvana and Elliott Smith but occasionally they put out some 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 s music even though most of us will only have heard one of her songs you know the one if any So it goes with Andrew Schartmann s book which takes a look at Koji Kondo s Super Mario Bros soundtrack as a viable and important album of the 20th century It s a curious choice not least because it s music for a computer game and was created in tandem with and to reflect the game but because repetition removed the whole thing start to finish is under three minutes Some pedants might argue that this discounts it as an album as they probably have their own specific idea of what an album is but then they wouldn t be pedants if they didn t The first 20% of the book is context and history and is definitely the most interesting part of the book Schartmann relays a brief history of Nintendo which was founded in 1889 making card games then became a toymaker before branching out to video games in order to make toys off of them They developed Donkey Kong where we first met Mario then known as Jump Man which became a massive arcade hit before branching out into the home console market creating the Famicom console for Japanese consumers it was rebranded the Nintendo Entertainment System or NES for Western markets After Atari burned down the home console market by releasing one shoddy game after another culminating in the notorious ET game that became the company s death knell Nintendo succeeded where Atari failed by ensuring uality When the Famicom proved to have a glitch Nintendo ordered a recall regardless of expense and lost a lot of money They started putting Nintendo uality stickers on their products to build up customer trust and their president demanded staff work on projects that were different from what was on the market not building on pre existing products It was this ethos of high standards and innovation that became central to the games they produced which is why they created such wonderful games like Super Mario Bros and The Legend of Zelda which still hold up today Continuing the progressive thinking Nintendo hired Koji Kondo who was the first full time video game music composer While most composers are brought in after the game has been completed Kondo was present as the game was being developed and shaped the music around the look and feel of the game It was revolutionary because all of the sound was written not just with the game in mind but with how the player experiences it Music was no longer background beeps but part of the overall effect The old adage art through adversity is applicable here as the NES had a limited five channel sound generator one of which was white noise and yet Kondo was able to produce so many memorable and catchy tunes through it including the awesome original Zelda game s music It s a testament to his talent as much as anything the legacy of which meant that games would become artistic going forward As informative as the first 20% of the book is once Schartmann gets into the meat of the music it becomes very dull and monotonous Schartmann is a music theorist who can talk extensively in the jargon of his field so most of the book is full of paragraphs like this Remember the fanfare that plays each time Mario takes down Bowser s flag at the end of a level Let s take a look Example 8 The basic chord progression underlying this fanfare consists of just four major chords C A flat B flat and C If you play the last three chords on a keyboard you may notice that the fanfare is built on the exact same progression as the salient passage from the Overworld theme s B section In fact the sound of chords ascending in stepwise parallel motion is relatively common in the Super Mario Bros album as a whole Whenever Mario crosses a bridge and casts a Bowser imposter into a pit of boiling lava the Castle Fanfare Example 9 sounds the following series of major triads C D flat E flat F and G Remember the music that plays to warn Mario that time is running out It s a series of ascending parallel chords this time diminished seventh chords I can play guitar but can t read sheet music write the chords above the lyrics and I can play a song passably well and I also have no knowledge of music theory whatsoever So reading stuff like that and it takes up most of the book is extremely dull to me But the thinness of the material gets really stretched by the end when he starts examining the individual sounds like of Mario hitting a wall he can t break or jumping That s when it becomes very dire and I just wanted the book to end Part of the appeal of the 33 series for me is learning about the artist as much as it is about discussing the art So Steve Matteo s book on Let It Be was interesting because he showed us how The Beatles were disintegrating taking us into their personal lives as well as looking at the tracks It is gossipy and shallow but Kondo s life isn t at all dramatic He was a young guy straight out of university who had talent and began working at a games company He succeeded and began an illustrious career That s it There doesn t have to be a lot about the artist necessarily but when the writing about the music itself is utterly tedious I was hoping a different aspect to the book would offset the boredom and it didn t The history behind the game is fine but the lengthy examination of the music and its creator is like many academic books far too dry and much too full of technical detail for my taste Super Mario Bros remains a fond memory from my childhood and the music will remain embedded in my head til I get the Game Over screen on my own life I appreciate that 33 tried something different and it sounded like a fun read however the experience was anything but weighted-blankets-vests-and-scarves-simple-sewing-projects-to-comfort-and-calm-children-teens-and-adults himself included seth-parle-l-eacute-ternelle-validit-eacute-de-l-acirc-me-tome-1 have a negative reaction to Dion s music even though most of us will only sculpture-a-basic-handbook-for-students have Caines Law The Acts Of Caine 4 heard one of paperback-oxford-english-dictionary her songs you know the one if any So it goes with Andrew Schartmann s book which takes a look at Koji Kondo s Super Mario Bros soundtrack as a viable and important album of the 20th century It s a curious choice not least because it s music for a computer game and was created in tandem with and to reflect the game but because repetition removed the whole thing start to finish is under three minutes Some pedants might argue that this discounts it as an album as they probably from-the-source-spain-spain-s-most-authentic-recipes-from-the-people-that-know-them-best-lonely-planet have their own specific idea of what an album is but then they wouldn t be pedants if they didn t The first 20% of the book is context and founding-mothers-the-women-who-raised-our-nation history and is definitely the most interesting part of the book Schartmann relays a brief homo-zapiens history of Nintendo which was founded in 1889 making card games then became a toymaker before branching out to video games in order to make toys off of them They developed Donkey Kong where we first met Mario then known as Jump Man which became a massive arcade the-easy-hymn-fake-book-over-150-hymns-in-the-key-of-quot-c-quot hit before branching out into the low-carb-healthy-fat home console market creating the Famicom console for Japanese consumers it was rebranded the Nintendo Entertainment System or NES for Western markets After Atari burned down the cognitive-behavioural-therapy-7-ways-to-freedom-from-anxiety-depression-and-intrusive-thoughts home console market by releasing one shoddy game after another culminating in the notorious ET game that became the company s death knell Nintendo succeeded where Atari failed by ensuring uality When the Famicom proved to tribes-and-politics-in-yemen-a-history-of-the-houthi-conflict-ebook-marieke-brandt-amazon-fr-amazon-media-eu-s--r-l have a glitch Nintendo ordered a recall regardless of expense and lost a lot of money They started putting Nintendo uality stickers on their products to build up customer trust and their president demanded staff work on projects that were different from what was on the market not building on pre existing products It was this ethos of versailles-la-fabrique-d-un-chef-d-oeuvre-ne high standards and innovation that became central to the games they produced which is why they created such wonderful games like Super Mario Bros and The Legend of Zelda which still the-double-helix-a-personal-account-of-the-discovery-of-the-structure-of-dna hold up today Continuing the progressive thinking Nintendo jaws-memories-from-martha-s-vineyard hired Koji Kondo who was the first full time video game music composer While most composers are brought in after the game bon-appetit-shawnee-hunter-georges-drouillard-s-list-of-fine-dining-establishments-along-the-lewis-and-clark-trail-as-of-a-d-1806-and-the-life-and-times-of-georges-p-drouillard has been completed Kondo was present as the game was being developed and shaped the music around the look and feel of the game It was revolutionary because all of the sound was written not just with the game in mind but with security-risk-management-building-an-information-security-risk-management-program-from-the-ground-up-ebook-evan-wheeler-amazon-fr-amazon-media-eu-s--r-l how the player experiences it Music was no longer background beeps but part of the overall effect The old adage art through adversity is applicable options-as-a-strategic-investment here as the NES la-casa-en-mango-street had a limited five channel sound generator one of which was white noise and yet Kondo was able to produce so many memorable and catchy tunes through it including the awesome original Zelda game s music It s a testament to schokolade-2019-wandkalender-brosch-uuml-renkalender-im-hochformat-aufgeklappt-30x60-cm-geschenk-kalender-mit-monatskalendarium-zum-eintragen his talent as much as anything the legacy of which meant that games would become artistic going forward As informative as the first 20% of the book is once Schartmann gets into the meat of the music it becomes very dull and monotonous Schartmann is a music theorist who can talk extensively in the jargon of chilling-adventures-of-sabrina-5 his field so most of the book is full of paragraphs like this Remember the fanfare that plays each time Mario takes down Bowser s flag at the end of a level Let s take a look Example 8 The basic chord progression underlying this fanfare consists of just four major chords C A flat B flat and C If you play the last three chords on a keyboard you may notice that the fanfare is built on the exact same progression as the salient passage from the Overworld theme s B section In fact the sound of chords ascending in stepwise parallel motion is relatively common in the Super Mario Bros album as a whole Whenever Mario crosses a bridge and casts a Bowser imposter into a pit of boiling lava the Castle Fanfare Example 9 sounds the following series of major triads C D flat E flat F and G Remember the music that plays to warn Mario that time is running out It s a series of ascending parallel chords this time diminished seventh chords I can play guitar but can t read sheet music write the chords above the lyrics and I can play a song passably well and I also Narottama Vilasa have no knowledge of music theory whatsoever So reading stuff like that and it takes up most of the book is extremely dull to me But the thinness of the material gets really stretched by the end when the-battle-for-the-beginning he starts examining the individual sounds like of Mario first-aid-for-the-usmle-step-1-2018-28th-edition hitting a wall farrow-amp-ball-how-to-decorate he can t break or jumping That s when it becomes very dire and I just wanted the book to end Part of the appeal of the 33 series for me is learning about the artist as much as it is about discussing the art So Steve Matteo s book on Let It Be was interesting because there-was-an-old-lady-who-swallowed-some-leaves he showed us l-encyclop-eacute-die-des-animaux had talent and began working at a games company He succeeded and began an illustrious career That s it There doesn t lonely-planet-grand-canyon-national-park-travel-guide have to be a lot about the artist necessarily but when the writing about the music itself is utterly tedious I was supercharge-power-bi-power-bi-is-better-when-you-learn-to-write-dax hoping a different aspect to the book would offset the boredom and it didn t The black-cumin-the-magical-egyptian-herb-for-allergies-asthma-and-immune-disorders history behind the game is fine but the lengthy examination of the music and its creator is like many academic books far too dry and much too full of technical detail for my taste Super Mario Bros remains a fond memory from my childhood and the music will remain embedded in my m-ouml-gest-du-gl-uuml-cklich-sein-entdecke-dein-h-ouml-heres-selbst-und-verbinde-dich-mit-deiner-inneren-kraft head til I get the Game Over screen on my own life I appreciate that 33 tried something different and it sounded like a fun read les-messagers however the experience was anything but

SUMMARY Koji Kondos Super Mario Bros Soundtrack

Koji Kondos Super Mario Bros Soundtrack

A ripe environment in which Kondo's musical experiments could thrive He then delves into the music itself searching for reasons why our hearts still dance to the “primitive” 8 bit tunes of a bygone eraWhat 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 o. Sometimes the 33 13 books are really adventurous Let s Talk About Love A Journey to the End of Taste comes to mind and at others they are heavily padded versions of journal articles or blog posts Schartmann s text belongs in the latter category He spends an inordinate amount of space on Atari s ET game and the mythology surrounding its burial in Alamogordo NM Given that this book is marketed to game music enthusiasts I was never sure why he did this In terms of writing style it s academic than I was expecting and not in a good way I m an academic He cites other video game sound and music scholars hey there Karen Collins but the overall tone is off putting which I think has to do with the author s emphasis in the Western Classical canon His style is very oriented to a narrow band of music scholarship that cares about Beethoven and Debussy than say jazz Given the melodic and harmonic character of the music the emphasis towards a legitimation project was surprising to me given that Kondo relied so heavily on syncopations in the main theme I was also disappointed that the author didn t explain about Japanese musical aesthetics in anime and games He mentions it during an interview with another game composer Neil Baldwin but just lets the composer s attitude about Japanese tendencies sit there without elaboration That was a strange choice given that this book will likely have a market among Nintendo fans outside the US perhaps even in JapanThe issue of tone aside I read the whole thing a sure indication that I found it worthwhile His discussion of the underwater waltz theme is the strongest with the discussion of the underground theme coming in a close second I was also happy that he provided so much music theory and managed to do so in a way that non scholars and musicians could understand a clear sign that he s taught basic theory I m happy that I read the whole thing and I will recommend it to my students and friends interested in video game music alongside much fleshed out work by others Defect hearts still dance to the “primitive” 8 bit tunes of a bygone eraWhat 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 o. Sometimes the 33 13 books are really adventurous Let s Talk About Love A Journey to the End of Taste comes to mind and at others they are ethical-decisions-for-social-work-practice heavily padded versions of journal articles or blog posts Schartmann s text belongs in the latter category He spends an inordinate amount of space on Atari s ET game and the mythology surrounding its burial in Alamogordo NM Given that this book is marketed to game music enthusiasts I was never sure why apprendre-agrave-programmer-avec-python-3 he did this In terms of writing style it s academic than I was expecting and not in a good way I m an academic He cites other video game sound and music scholars witch-at-heart-a-jinx-hamilton-mystery-book-1-english-edition hey there Karen Collins but the overall tone is off putting which I think drawing-cutting-edge-anatomy-the-ultimate-reference-for-comic-book-artists has to do with the author s emphasis in the Western Classical canon His style is very oriented to a narrow band of music scholarship that cares about Beethoven and Debussy than say jazz Given the melodic and united-methodist-hymnal-dark-red harmonic character of the music the emphasis towards a legitimation project was surprising to me given that Kondo relied so tokyo-ghoul-vol-5 heavily on syncopations in the main theme I was also disappointed that the author didn t explain about Japanese musical aesthetics in anime and games He mentions it during an interview with another game composer Neil Baldwin but just lets the composer s attitude about Japanese tendencies sit there without elaboration That was a strange choice given that this book will likely the-body-bears-the-burden-trauma-dissociation-and-disease have a market among Nintendo fans outside the US perhaps even in JapanThe issue of tone aside I read the whole thing a sure indication that I found it worthwhile His discussion of the underwater waltz theme is the strongest with the discussion of the underground theme coming in a close second I was also playing-for-keeps-michael-jordan-and-the-world-he-made-english-edition happy that the-forbidden-groom-texas-titan-romances-english-edition he provided so much music theory and managed to do so in a way that non scholars and musicians could understand a clear sign that the-lives-of-the-artists-oxford-world-s-classics he s taught basic theory I m a-level-chemistry-a-for-ocr-student-book-ocr-a-level happy that I read the whole thing and I will recommend it to my students and friends interested in video game music alongside much fleshed out work by others

CHARACTERS ✓ MUCID.ME ✓ Andrew Schartmann

Ur physical experience of the world These and other uestions are explored within through the lens of Kondo's compositional philosophy one that would influence an entire generation of video game composers As Kondo himself stated “we at Nintendo 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 gam. Smart Incisive Well researched Packed with nerdy music theory but accessible to people who love the music of Super Mario Bros Great use of interviews from the composer and top brass at Nintendo Great read