Abstract
Abstract Susan Sontag writes, “Camp taste has an affinity for certain arts rather than others. . . . Concert music . . . is rarely Camp. It offers no opportunity, say, for a contrast between silly or extravagant content and rich form.” She further notes though that while the operas of Richard Strauss and musical genres such as Tin Pan Alley and some popular music can be camp, the music dramas of Richard Wagner and genres like jazz cannot. Where, then, does television music fall? A close examination of the musical scores of several 1960s programs reveals that they have certain affinities with camp aesthetics—exaggerated style, unique instrumentation, and outlandish musical vocabularies—and the music is thus crucial to the experience of these camp texts. This chapter will survey 1960s TV episodes to investigate how the camp style in 1960s television music was constructed and examine its contribution to these programs’ overall camp aesthetic.
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