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Location
Rosen Classroom 111
Start Date
20-6-2024 2:00 PM
Description
As the theme park industry has matured and become truly global, the musical landscape has also transformed. Now, it is more common in smaller theme parks or in amusement parks to create original music or utilize the services of a soundtrack production company. This shift aligns with the continued growth of thematic content, narrative aspects, and immersive design within these spaces. Theme parks are rife with musical layers, from background music loops and attraction soundtracks to recorded or live music found in entertainment offerings. This presentation examines theme parks in the top three world regions (North America, Asia, and Europe) and proposes several categories of musical orientation. Factors considered include whether there is a corporate sound or not, application of intellectual properties or original music, and the presence of diegetic or non-diegetic features. Sites may utilize only a single type, for example a park with an in-house composer that establishes a unique sound or a location that relies on curated non-original music. Other parks present a complex landscape of sound, from original compositions and thematic but non-original music to intellectual properties belonging to a park’s corporate owner. After considering the patterns of musical categories within global theme parks, the presentation suggests an evolution of paradigms. Some theme parks have adhered to a dominant paradigm while others have been more, or significantly less, experimental. To conclude, the presentation will speculate on what this evolving landscape of theme park music might mean for the future of the industry and its fans.
Recommended Citation
Baker, Carissa, "Defining Paradigms in the Evolving Musical Landscape of Theme Parks" (2024). Theme Park Music and Sound. 7.
https://stars.library.ucf.edu/tpms/2024/thursday/7
Defining Paradigms in the Evolving Musical Landscape of Theme Parks
Rosen Classroom 111
As the theme park industry has matured and become truly global, the musical landscape has also transformed. Now, it is more common in smaller theme parks or in amusement parks to create original music or utilize the services of a soundtrack production company. This shift aligns with the continued growth of thematic content, narrative aspects, and immersive design within these spaces. Theme parks are rife with musical layers, from background music loops and attraction soundtracks to recorded or live music found in entertainment offerings. This presentation examines theme parks in the top three world regions (North America, Asia, and Europe) and proposes several categories of musical orientation. Factors considered include whether there is a corporate sound or not, application of intellectual properties or original music, and the presence of diegetic or non-diegetic features. Sites may utilize only a single type, for example a park with an in-house composer that establishes a unique sound or a location that relies on curated non-original music. Other parks present a complex landscape of sound, from original compositions and thematic but non-original music to intellectual properties belonging to a park’s corporate owner. After considering the patterns of musical categories within global theme parks, the presentation suggests an evolution of paradigms. Some theme parks have adhered to a dominant paradigm while others have been more, or significantly less, experimental. To conclude, the presentation will speculate on what this evolving landscape of theme park music might mean for the future of the industry and its fans.