Dissertations / Theses on the topic 'The Inner Game of Music'

The aim of my project was to find different ways to make playing easier and freer. What does it actually mean to let go and what could help to achieve more secure and relaxed feeling in your body when playing your instrument? I collected and experimented with exercises from a book The Inner Game of Music and Alexander Technique. I found out that knowing more precisely what to focus on and being more aware of the body can have a great effect. I discovered more gentle ways to teach myself and learned about the importance of how we are treating and using our bodies during practicing and in everyday situations.

The sounding part consists of the following recording; Esa-Pekka Salonen: Pentatonic Étude.

”A finger pointing at the moon is not the moon...” -Buddhist Quote ”...but it can point you in the right direction.” -Charles Tart, American psychologist In this Master’s Thesis I will be presenting the idea of an Inner Gaze as an inherent witnessing system used in artistic practice. I will be mirroring my own practice as a Musician/Artist/Sound-Designer in the teachings of Hypnosis and The Science of Consciousness. Further I will share and analyze the collected data gathered from interviews with artists from different artistic fields, in order to gain a better understanding of how they experience their creative and performing minds. Is there any coherence in how we experience creativity? How common are the sensations of altered states of consciousness among artists? Can other artists relate to the idea of an inner gaze? Is this something we long to further explore and develop and would such a concept be beneficial for the artist and its works?

Thesis (D.M.A.)--University of Maryland, College Park, 2007.
Thesis research directed by: Music. Title from t.p. of PDF. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

Thesis (MMus (Music)) --University of Stellenbosch, 2010.
ENGLISH ABSTRACT: This thesis’s main focus is the connection video game genres have to the music used within them. The thesis starts by going back to the origins of music and its connection to movement. This leads to a better understanding of why visual presentations through the ages have always been accompanied by sound. Next, different types of sound are studied, as well as how they are implemented in various media today. This leads a discussion of genre, and care is taken to differentiate between genres in video games and in music. This is then applied to the sphere of video game music, which is then observed from the perspective of the video game genre. Analyses of music excerpts from a specific video game are also included in this section. The reverse is then applied by approaching the issue of video game music from the perspective of the music genre. It is concluded that one needs to approach the matter of video game music genre from a new perspective, relying on the source of the music and the means of music integration, rather than on existing music norms.
AFRIKAANSE OPSOMMING: Hierdie tesis se hoofdoel is om die konneksie tussen videospeletjies, en die musiek wat daarin gebruik word, te ondersoek. Die tesis begin deur terug te gaan na die wortels van vroeë musiek, en hoe dit deur die jare ‘n noue verbintenis gehad het met beweging. Hierdie konneksie maak dit duidelik hoekom visuele produksies gewoonlik deur klank ondersteun word. Volgende word verskillende verskynsels van klank bestudeer, asook die maniere waarop klank vandag in verskeie media geïmplementeer word. Dit lei tot die kwessie van genre. Daar word onderskei tussen die genres van musiek en die genres van videospeletjies. Volgende word die area van videospeletjie-musiek bestudeer, uit die perspektief van die videospeletjie-genre. In hierdie seksie kan analises van musiekuittreksels uit ‘n videospeletjie gevind word. Die teenoorgestelde word dan toegepas, deur die kwessie van videospeletjie-musiek uit die oogpunt van die musiek-genre te bestudeer. Aan die einde word dit waargeneem dat videospeletjie-musiek nie deur die norme van musiek-genre bestudeer kan word nie, maar dat nuwe perspektiewe ingeneem moet word, naamlik die oorsprong van die videospeletjie-musiek, asook die manier waarop dit in die speletjie geïntegreer word.

By conducting an experiment involving interviews with successful video game music composers about the emotions they wish to convey to the players with their music, and a survey questioning consumers about what emotions they actually experienced while listening to these musical pieces, this bachelor's thesis tries to provide a deeper understanding for music in games and the impact it has on the player and whether or not the three composers that has been interviewed has succeeded with conveying the emotions they wished to convey to their consumers. The results showed that each composer that has participated has been able to convey the music's intended emotions to their consumers more or less. Almost none of the musical pieces used stood out as wrongly perceived by the survey participants. The preconceptions we have about emotions in music, both generally and in video games, has become so deeply rooted that by only listening to a musical piece one can determine its emotive state and character.

This dissertation investigates video game music from a musicological perspective, considering the role, function and effect of music in games. I hypothesize that music's significance for the gamer is founded upon the way the player interacts with the game. The nature of this interaction is determined by what is termed the 'interactive genre' in question - the type of interaction typical for a particular class of games. Thus the musical analysis of game interactive genres is an appropriate and potentially rewarding way of understanding game music. These genres of interaction are distinct and historically established, which allows a survey of many games over a relatively long chronological period. Musical analysis of interactive genres, in turn, illuminates the way in which gamers play and understand games. After creating a contextual frame for the study of game music, the body of the dissertation focuses on a genre-by-genre examination. Each chapter considers the features of a particular genre (or genres sharing key features), and examines representative games to ascertain the relationship between the game and the music. Certain genres prioritize distinct modes of interaction and components of musical function because of the interactive mechanism of the game, and thus provide the opportunity for the examination of particular musical concerns. That this is so indicates the close relationship between music and gameplay /interaction in the video game medium. A case study is used to demonstrate a 'deep reading' of the musical concerns or issues that are seen to feature prominently in the game genre in question. The study concludes with a summary in the form of a chapter on action games that focuses on the aspects of game music that can be extracted from the preceding discussions. The epilogue explores how game music may reveal the playfulness of the human-music interaction in a more general way. ii

Video game developers attempt to convey moods to emphasize their game's narrative. Events that occur within the game usually convey success or failure in some way meaningful to the story's progress. Ideally, when these events occur, the intended change in mood should be perceivable to the player. One way of doing so is to change the music. This requires musical tracks to represent many possible moods, states and game events. This can be very taxing on composers, and encoding the control flow (when to transition) of the tracks can prove to be tricky as well. This thesis presents AUD.js, a system developed for procedural music generation for JavaScript-based web games. By taking input from game events, the system can create music corresponding to various Western perceptions of music mood. The system was trained with classic video game music. Game development students rated the mood of 80 pieces, after which statistical representations of those pieces were extracted and added into AUD.js. AUD.js can adapt its generated music to new sets of input parameters, thereby updating the perceived mood of the generated music at runtime. We conducted A/B tests comparing static music, both composed and computer-generated, to dynamically adapting music. We find that AUD.js provides reasonably effective music for games, but that adaptiveness of the music does not necessarily improve player experience over composed music. By conducting a user study during Global Game Jam 2014, we also find that since AUD.js provides a software solution to music composition, it can be a useful tool for game music integration under time pressure.

My research will attempt to determine how award academies choose their nominations through the analysis of select musical aesthetics. As a trained musician (pianist) and avid gamer, I will bring my two passions together, contributing to the field of ludomusicology (the study of video game music). My research consists of an overview of video game scores spanning a decade (2004 – 2013) with a select sample of three soundtracks per year (a total of thirty soundtracks). The samples will be taken from the BAFTA- (British Academy of Film and Television Arts), VGX- (formerly known as Spike), and D.I.C.E. awards (Design, Innovate, Communicate, Entertain). Through engaging a music theory macro analysis, I will discuss melodic themes used in each soundtrack, the setting of the score (instrumental or electronic), and whether the soundtrack samples contain the epic musical idiom. At the end of my dissertation my research reveals what kind of music these award academy panels favour. If the award academies are a reflection of popular taste, my research indicates what the audiences like to hear in video game music.
Dissertation (MMus)--University of Pretoria, 2016.
Music
MMus
Unrestricted

The videogame now occupies a unique territory in contemporary culture that offers a new perspective on conceptions of high and low art. While the fear that the majority of videogames 'pacify' their audience in an Adornian "culture industry" is not without justification, its reductionism can be countered by a recognition of the diversity and aesthetic potential of the medium. This has been proposed by sociologist, Graeme Kirkpatrick, although without close attention to the role of music. Videogame music often operates in similar ways to music in other mixed-media scenarios, such as film, or opera. In the same way that film music cannot be completely divorced from film, videogame music is contingent on and a crucial part of the videogame aesthetic. However, the interactive nature of the medium - its différance - has naturally led to the development of nonlinear musical systems that tailor music in real time to the game's dynamically changing dramatic action. Musical non-linearity points beyond both music and videogames (and their respective discourses) toward broader issues pertinent to contemporary musicology and critical thinking, not least to matters concerning high modernism (traditionally conceived of as resistant to mass culture). Such issues include Barthes's "death of the author", the significance of order/disorder as a formal spectrum, and postmodern conceptions and experiences of temporality. I argue that in this sense the videogame medium - and its music - warrants attention as a unique but not sui generis aesthetic experience. Precedent can be found for many of the formal ideas employed in such systems in certain aspects of avant-garde art, and especially in the aleatoric music prevalent in the 1950s and 60s. This thesis explores this paradox by considering videogames as both high and low, and, more significantly, I argue that the aesthetics of videogame music draw attention to the centrality of "play" in all cultural objects.

The purpose of this project is to create a game audio engine based on procedural audio. I designed an audio engine in the visual programming language Max/MSP that I call High Score. High Score receives data from a game that I designed in the game development program Unity3D. The data that it receives controls an algorithmic composition that serves as the musical score of the game as well as several processes that synthesize various sound effects in the game. This approach to game audio proves to be very flexible and offers new aesthetic possibilities for game music and sound design.

This thesis explores the creation of music for a video game level utilizing industry tools for music compositions as well as level design. Music as an element of game design and its resulting impact is also examined.

Adaptiv musik ändras beroende av parametrar som ändras av händelser i spelet. Den här studien undersöker om ett adaptivt musik system är en förbättring i spelet A Story About My Uncle jämfört med statisk musik, om det är värt tidsinvesteringen som implementationen kräver. Data samlas in genom att ta in testare som spelar en introduktionsnivå i spelet två gånger, en gång med statisk musik och en gång med adaptiv musik. Spelarna svarar på en enkät efter varje genomspelning av nivåerna. Resultaten visar ingen signifikant skillnad mellan den statiska och adaptiva versionen när man undersöker spelarnas generella spelupplevelse, och upplevelse av musiken i nivåerna.

The Sound of the Prairie Land (Caoyuan Zhige) for viola and piano by the Chinese composer Qingwu Guan (b. 1938) has become one of the most popular works in the growing Chinese repertoire for viola. It also exists in another version for viola and viola ensemble, arranged by the Chinese violist Wing Ho, who also expanded the viola part with the composer's approval. The pentatonic work was highly influenced by the landscape and music of Inner Mongolia, a province of China next to the Mongolian border, and incorporates the music of an ode by the Inner Mongolian composer Alatengaole (1942–2011) called Sincere Wishes for a Long Life to Chairman Mao. Guan remains a strong supporter of Mao, the first chairman of the Chinese Communist Party. The work makes use of some performance techniques of the Inner Mongolian two-stringed fiddle called morin khuur, which has a similar tone to the viola: three kinds of slides, grace notes, imitations of a horse's neigh, and the representation of horses galloping across the prairie. The background of the work, understanding of the musical structure, and information about morin khuur techniques presented in this dissertation should aid performers in interpreting the work more authentically.

This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (Game Music Generation Engine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.

This project is an effort to adapt computer game prototyping tools as controls for interactive digital music. Secondarily it is an investigation of a social aspect of interactive music. Meaning, is it possible give the game-player-listeners the ability to structure the music interactively and become the composers of their own game experience? Throughout the process these social and aesthetic questions countered and informed the technical questions.

In every media composer's digital studio the tools of creation and distribution have elided. Work is instantaneously and efficiently distributable on a global scale; many of the aesthetic difficulties specific to art-making in 2015 derive from this fact. This paper describes some of these difficulties strictly within the context of the rising demand for mediated interactive experiences.

The conclusions are decisive. Contemporary game prototyping programming techniques—even those limited to WebGL-enabled browser applications—are highly effective tools for the creation and control of interactive digital music.

Music is commonly applied in art and entertainment to enhance the emotional experience. In video-games and other non-linear mediums this task must be achieved dynamically at run-time, as the timeline of events is unknown in advance. Different techniques have been developed to solve this issue, but most commercial applications still rely on pre-rendered audio. In this study, I investigate using a Computer System for Expressive Music Performance (CSEMP) to dynamically shape a computer performance of a pre-composed track to a small platforming game. A prototype environment utilising the KTH Rule System was built and evaluated through semistructured interviews and observations with 7 participants. The results suggest that changes in the musical performance can successfully reflect smaller changes in the experience such as character movement, and are less effective for sound effects or more dramatic changes, such as when the player is engaging in combat or when the player loses. All participants preferred the interactive soundtrack over a non-interactive version of the same soundtrack.
Musik används ofta som ett komplement i konst och underhållning för att förstärka den känslomässiga upplevelse. I datorspel och andra icke-linjära medier måste musiken ta på sig denna rollen dynamiskt, eftersom det inte går att veta hur händelserna kommer utfalla sig i förväg. För att lösa detta problem har det utvecklats olika tekniker, men dom flesta är fortfarande baserade på digitala inspelningar. I denna studie utforskar jag användningen av ett "Computer Systen for Expressive Musig Performance" (CSEMP) för att dynamiskt forma datorns framträdande av en lineär komposition till ett enkelt plattformsspel. En prototyp baserat på systemet "KTH Rule System" utvecklades och utvärderades genom semistrukturerade intervjuer och observationer med 7 deltagare. Resultaten visar att förändringar i uppspelningen lyckades spegla mindre förändringar i spelet, såsom hur en spelkaraktär rör sig, och var mindre effekt som ljudeffekter och för större förändringar, såsom när spelaren är i fara eller spelet är över. Alla deltagare föredrog det interaktiva ljudspåret över en icke-interaktiv version i det samma ljudspåret.

There have been a number of computer assisted musical instrument tutoring systems developed over the years for a variety of instruments. However, there has not been significant development in a tutoring system designed specifically for the electric bass guitar. Furthermore, while many of these tutoring systems leverage technology, the vast majority have not capitalized on increasing student motivation and engagement through integrating digital game-based learning.This thesis presents a high-level design of an electric bass tutoring system which integrates game elements. In order to establish a well-founded design, the thesis first reviews: the notable design features from previous computer assisted musical instrument tutoring systems, the musical elements of an electric bass performance which a human teacher would focus on when providing feedback to a student, methods of extracting these musical elements, and the game elements which foster student engagement and motivation.
Au cours des dernières années, plusieurs systèmes d'enseignement assisté par ordinateur ont été développés pour une variété d'instruments de musiques. Cependant, il n'y a toujours pas de développements considérables d'un système éducatif qui soit dédié à l'apprentissage de la basse électrique. Une grande partie des systèmes existant misent beaucoup sur la technologie sans chercher à motiver l'élève en intégrant l'élément de participation interactive que peut générer un jeu électronique éducatif.Ce mémoire présente la conception d'un système d'enseignement de haut niveau qui examine les éléments du jeu dans le cadre de l'apprentissage de la basse électrique. Afin d'établir les fondements de la conception, le mémoire considère : les principales caractéristiques des systèmes d'enseignement musical assisté par ordinateur antérieurs; les éléments musicaux d'une performance de basse électrique sur lesquels un enseignant se concentrerait au cours du processus de rétroaction en personne; les méthodes qui permettent de déterminer ces éléments musicaux, et; les éléments du jeu qui favorisent la participation et la motivation de l'étudiant.

For a long time, the function of the musical score has been to support activity in video games, largely by reinforcing the drama and excitement. Rather than leave the score in the background, this project explores the interaction possibilities of an adaptive video game score using real-time modulation of granular synthesis. This study evaluates a vertically re-orchestrated musical score with elements of the score being played back with granular synthesis. A game level was created where parts of the musical score utilized one granular synthesis stem, the parameters of which were controlled by the player. A user experience study was conducted to evaluate the granular synthesis interaction. The results show a wide array of user responses, opinions, impression and recommendations about how the granular synthesis interaction was musically experienced. Some results show that the granular synthesis stem is regarded as an interactive feature and have a direct relationship to the background music. Other results show that interaction went unnoticed. In most cases, the granular synthesis score was experienced as comparable to a more conventional game score and so, granular synthesis can be seen a new interactive tool for the sounddesigner. The study shows that there is more to be explored regarding musical interactions within games.

For contact with the author or request of videoclips, audio or other resources

Mail: olliver.andersson@gmail.com

In the past, pastoral-therapeutic support was mainly approached only from the functioning of the left hemisphere of the brain. This implies that pastoral therapists mainly interacted with people in therapy at an intellectual-analytical level under modernistic influence. Since man's destitution and need changes along with time, it is essential for pastoral therapists/counsellors to supplement and adapt their modus operandi and strategies if they wish to remain relevant regarding their pastoral dealings with people. In this study the researcher attempted to formulate from the Scriptures a basis theory regarding the role of music as a whole-brain strategy in inner change. For the sake of a more holistic approach, a meta-theoretical investigation was also undertaken. To confirm the basis and meta-theoretical information, researcher entered the living reality of seven individuals during which a qualitative research was done. The results of the study, according to which the basis and meta-theoretical perspectives were placed in hermeneutical relation to one another, led to practice-theoretical guidelines within the subject domain of Practical Theology regarding the role of music as a whole-brain strategy in inner change.
Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2008.

Developments in video games over the last few decades have opened up many new kinds of musical experiences that pose substantial challenges to traditional understandings of music and musical agency. Virtual spaces grant us opportunities and freedoms to interact with music in manners that might not be prudent, practical, or even possible in the physical world. Players and creators of games have considerable license to play with music – to push the boundaries of music’s signifying and sensational potential within far-reaching narrative, ludic, and social contexts. This dissertation investigates how modern technologies of digital gaming enable and motivate such transgressive modes of musical engagement. Video game players, composers, and designers frequently employ (or otherwise interact with) music, noise, and speech in ways that deliberately or inadvertently violate technical rules, social expectations, cultural conventions, aesthetic norms, and ethical codes. Just as creators of games are constantly surprising gamers with innovative concepts and progressive designs, so gamers often come up with forms of emergent play that creators themselves might not have anticipated or intended. Though gameplay isn’t always explicitly transgressive, I argue here that it can be productively conceptualized as an activity that is largely bound up in potentialities for transgression. Play isn’t simply about make-believe, but additionally about re-making belief – about redrawing the limits of the imagination through accomplishments of acts previously unimaginable (or believed to have been outright impossible). The particular liberties that can be taken with (and in) games may ultimately teach us some profound things about what (we think) music is (and isn’t), how it works, what it’s good for, and why and to whom these questions should matter in broader social, cultural, and intellectual contexts.
Music

In the past, video game communities have been studied after they have already been well-established. Studying the Overwatch fandom now, less than a year after the game’s release, while its community is still growing, allows me to observe the way gamers bring prior fandom experiences to a new game and the way a new fan community establishes its own practices. Moreover, the Overwatch fandom is growing at a time when technology is rapidly changing the way fans share transformative works and the way media companies interact with fans. Studying Overwatch fan communities now can give a sense of what is and is not changing and how it might affect fandom.

The purpose of this study was to examine the perceptions of music teachers in urban elementary schools. Title-I public elementary schools (N = 135) in Miami-Dade County were surveyed for demographic information, and fifty-six of the music teachers from those schools participated in the survey designed for this study. The survey was intended to accumulate data regarding the independent variables of student demographics, teacher demographics, student/teacher demographic differences, teacher training, and teacher support; the dependent variables examined were teacher attitudes about urban elementary music teaching and teacher expectations of their urban elementary music students. Results demonstrated that demographic factors were correlated, and most of the teachers mismatched demographically with their students. Professional support and the percentage of students receiving free or reduced lunch correlated with attitudes. The variables did not correlate with expectations, but because of a strong correlation with attitudes, expectations may have been indirectly affected by support and the percentage of students receiving free/reduced lunch. Support was the single predictor for attitudes, and when computed as an independent variable, attitudes were the sole predictor for expectations. No significant main effects or interactions between the variables were found.

For many, listening to music is an enjoyable experience pursued throughout one’s lifetime. Nearly 200 years of music psychology research has revealed the various ways music listening can impact human emotional states, as well as cognitive and motor performance. Music in video games has come a long way from the first chiptunes of 1978 to the full scores written specifically for games today. However, very little is understood of how background game music impacts game performance, behavior and experience. Even less is known for how music variables might affect performance, behavior and experience by individual differences, such as personality type. In this study, 78 participants scoring in the top 30% for their age range of either extraversion or introversion played a cognitive-training game in four music conditions (silence, low tempo, medium tempo, and high tempo). Performance, game play behavior, and flow experience scores were analyzed for each music condition by level of extraversion. While no statistically significant differences were found in game performance scores by level of extraversion, there were statistically significant differences found for play behavior (physical mouse motions) and flow experience for the music conditions. These results suggest that music can both alter the nature of physical game inputs and also provide a more engaging game experience, while not necessarily impacting one’s ability to perform in a game.

Rap is an extremely popular form of modern music that is notorious for incorporating themes of guns and violence into the lyrics. Early rap was mainly party or dance music until the mid-80s when structural shifts in social conditions brought feelings of hopelessness and frustration into black inner city communities and youth culture. These feelings now find expression in rap lyrics. This thesis uses rap lyrics as qualitative data to understand the plight of urban black youth. Rap music can be seen as a form of resistance for young African Americans who have historically never had such a medium to express their lived experiences and frustrations with society. The rap performance becomes a stage where the powerless become powerful by using the microphone as a symbolic AK-47 and words as weapons in the form of symbolic hollow point cartridges. This Thesis examines the contemporary African American experience, its reflection in the lyrics of rap music, and its fascination with guns, violence and death. A key theme is while rap lyrics sometimes seem radical and frightening to the mainstream, they often express lines of analysis and understanding that have been widely discussed in conventional sociological literature.
ID: 030646183; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 59-66).
M.A.
Masters
Sociology
Sciences
Applied Sociology

People with motor disabilities have a limitation or a loss of capacity carrying out activities considered as normal for human beings. This may incline the relationship with the society and thus it is essential for these people to undergo therapeutic treatments. However, rehabilitation is a tedious process that often fails due to that patients drop treatment. For this reason, this thesis investigates if music in a serious game for rehabilitation can make the experience to become more engaging and, accordingly, whether positive experiences from playing such a game can encourage the rehabilitation process of a patient i.e. to make the rehabilitation process less tedious for the patient. The results, based on a pilot study conducted in a rehabilitation center, indicates that this is the case and further research on the matter is suggested.

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Esta dissertação discute a relação entre jogo e música em publicações da ABEM e ANPPOM. Tem como objetivos: (1) Verificar de que maneira os jogos musicais são discutidos nas publicações da ABEM (Revista da ABEM, Anais da ABEM, Revista MEB) e da ANPPOM (Anais da ANPPOM, Revista Opus); (2) Refletir sobre os jogos musicais encontrados nessas publicações; (3) Discutir sobre as possibilidades de utilização dos jogos na educação musical. Foi utilizada a abordagem qualitativa com inserção de dados quantitativos. Na metodologia, empregou-se a pesquisa bibliográfica, tendo como fonte de dados as publicações da ABEM e da ANPPOM. Como arcabouço teórico, utilizou-se: para metodologia, PÁDUA (2004); OLIVEIRA (2007); GIL (2010); MOREIRA e CALEFFE (2008); para os jogos e educação: KISHIMOTO (2011); para os jogos musicais como proposta didática: BRITO (2001, 2009, 2016); GAINZA (1964, 2014, 2015); FRANÇA e GUIA (2015); JEANDOT(1997); DELALANDE (1995). Discutiu-se o conceito de jogo musical partindo de pesquisadores que trouxeram definições para o termo: MORAIS (2009); CAVALIERI E GUIA (2015), BRITO (2009b), ALMEIDA e LEVY (2013). Foram analisadas 5 publicações: (1) Anais da ABEM; (2) Revista da ABEM; (3) Revista MEB; (4) Anais da ANPPOM; (5) Revista OPUS, nelas procurou-se o que há sobre jogos nos resumos, palavras-chave e título para selecionar os textos que tratam do tema, em seguida, foi realizada a leitura de todos os textos encontrados, a fim de selecionar dados para as reflexões. As reflexões trazem os seguintes temas: quantidade de publicações; datas das publicações; autores citados nas referências; autores com maior quantidade de publicações; modalidades dos jogos; características dos jogos, jogo como proposta pedagógica; público-alvo para a prática do jogo.
This dissertation discusses a relationship between game and music in ABEM and ANPPOM publications. The objectives of this dissertation are: (1) Verify how the games are most discussed in ABEM publications (ABEM Magazine, ABEM Annals, MEB Magazine) and ANPPOM (ANPPOM Annals, Opus Magazine); (2) Reflect about the musical games found in these publications; (3) Discuss the possibilities of using games in music education. A qualitative approach was carried out with the insertion of quantitative data. In the methodology, the researcher has bibliographic access, having as a data source the publications of ABEM and ANPPOM. As a theoretical framework, it was used: for the methodology, PÁDUA (2004); OLIVEIRA (2007); GIL (2010); MOREIRA and CALEFFE (2008); for games and education: KISHIMOTO (2011); for musical games as didactic proposal: BRITO (2001, 2009, 2016); GAINZA (1964, 2014, 2015); FRANÇA and GUIA (2015); JEANDOT (1997); DELALANDE (1995). The concept of musical game was researched by: MORAIS (2009); CAVALIERI and GUIA (2015), BRITO (2009b), ALMEIDA and LEVY (2013). Five publications were analyzed: (1) Annals of ABEM; (2) ABEM Magazine; (3) MEB Magazine; (4) Annals of ANPPOM; (5) OPUS Magazine, they were used for research about the games, key words and titles to select the texts about the theme, then more research and reading of all the text material for reflection. The reflections include the following themes: number of publications; publication data; authors cited in the references; authors with more publications; type of games; characteristics of games, game as pedagogical proposal; Target audience for the practice of the game.

Procedural content generation for video games (PCGG) has seen a steep increase in the past decade, aiming to foster emergent gameplay as well as to address the challenge of producing large amounts of engaging content quickly. Most work in PCGG has been focused on generating art and assets such as levels, textures, and models, or on narrative design to generate storylines and progression paths. Given the difficulty of generating harmonically pleasing and interesting music, procedural music generation for games (PMGG) has not seen as much attention during this time. Music in video games is essential for establishing developers' intended mood and environment. Given the deficit of PMGG content, this paper aims to address the demand for high-quality PMGG. This paper describes the system developed to solve this problem, which generates thematic music for non-player characters (NPCs) based on developer-defined attributes in real time and responds to the dynamic relationship between the player and target NPC. The system was evaluated by means of user study: participants confront four NPC bosses each with their own uniquely generated dynamic track based on their varying attributes in relation to the player's. The survey gathered information on the perceived quality, dynamism, and helpfulness to gameplay of the generated music. Results showed that the generated music was generally pleasing and harmonious, and that while players could not detect the details of how, they were able to detect a general relationship between themselves and the NPCs as reflected by the music.

This dissertation addresses five fundamental resource allocation problems on networks, all of which have applications to support Homeland Security or industry challenges. In the first application, we model and solve the strategic problem of minimizing the expected loss inflicted by a hostile terrorist organization. An appropriate allocation of certain capability-related, intent-related, vulnerability-related, and consequence-related resources is used to reduce the probabilities of success in the respective attack-related actions, and to ameliorate losses in case of a successful attack. Given the disparate nature of prioritizing capital and material investments by federal, state, local, and private agencies to combat terrorism, our model and accompanying solution procedure represent an innovative, comprehensive, and quantitative approach to coordinate resource allocations from various agencies across the breadth of domains that deal with preventing attacks and mitigating their consequences. Adopting a nested event tree optimization framework, we present a novel formulation for the problem as a specially structured nonconvex factorable program, and develop two branch-and-bound schemes based respectively on utilizing a convex nonlinear relaxation and a linear outer-approximation, both of which are proven to converge to a global optimal solution. We also investigate a fundamental special-case variant for each of these schemes, and design an alternative direct mixed-integer programming model representation for this scenario. Several range reduction, partitioning, and branching strategies are proposed, and extensive computational results are presented to study the efficacy of different compositions of these algorithmic ingredients, including comparisons with the commercial software BARON. The developed set of algorithmic implementation strategies and enhancements are shown to outperform BARON over a set of simulated test instances, where the best proposed methodology produces an average optimality gap of 0.35% (compared to 4.29% for BARON) and reduces the required computational effort by a factor of 33. A sensitivity analysis is also conducted to explore the effect of certain key model parameters, whereupon we demonstrate that the prescribed algorithm can attain significantly tighter optimality gaps with only a near-linear corresponding increase in computational effort. In addition to enabling effective comprehensive resource allocations, this research permits coordinating agencies to conduct quantitative what-if studies on the impact of alternative resourcing priorities. The second application is motivated by the author's experience with the U.S. Army during a tour in Iraq, during which combined operations involving U.S. Army, Iraqi Army, and Iraqi Police forces sought to interdict the transport of selected materials used for the manufacture of specialized types of Improvised Explosive Devices, as well as to interdict the distribution of assembled devices to operatives in the field. In this application, we model and solve the problem of minimizing the maximum flow through a network from a given source node to a terminus node, integrating different forms of superadditive synergy with respect to the effect of resources applied to the arcs in the network. Herein, the superadditive synergy reflects the additional effectiveness of forces conducting combined operations, vis-à-vis unilateral efforts. We examine linear, concave, and general nonconcave superadditive synergistic relationships between resources, and accordingly develop and test effective solution procedures for the underlying nonlinear programs. For the linear case, we formulate an alternative model representation via Fourier-Motzkin elimination that reduces average computational effort by over 40% on a set of randomly generated test instances. This test is followed by extensive analyses of instance parameters to determine their effect on the levels of synergy attained using different specified metrics. For the case of concave synergy relationships, which yields a convex program, we design an inner-linearization procedure that attains solutions on average within 3% of optimality with a reduction in computational effort by a factor of 18 in comparison with the commercial codes SBB and BARON for small- and medium-sized problems; and outperforms these softwares on large-sized problems, where both solvers failed to attain an optimal solution (and often failed to detect a feasible solution) within 1800 CPU seconds. Examining a general nonlinear synergy relationship, we develop solution methods based on outer-linearizations, inner-linearizations, and mixed-integer approximations, and compare these against the commercial software BARON. Considering increased granularities for the outer-linearization and mixed-integer approximations, as well as different implementation variants for both these approaches, we conduct extensive computational experiments to reveal that, whereas both these techniques perform comparably with respect to BARON on small-sized problems, they significantly improve upon the performance for medium- and large-sized problems. Our superlative procedure reduces the computational effort by a factor of 461 for the subset of test problems for which the commercial global optimization software BARON could identify a feasible solution, while also achieving solutions of objective value 0.20% better than BARON. The third application is likewise motivated by the author's military experience in Iraq, both from several instances involving coalition forces attempting to interdict the transport of a kidnapping victim by a sectarian militia as well as, from the opposite perspective, instances involving coalition forces transporting detainees between interment facilities. For this application, we examine the network interdiction problem of minimizing the maximum probability of evasion by an entity traversing a network from a given source to a designated terminus, while incorporating novel forms of superadditive synergy between resources applied to arcs in the network. Our formulations examine either linear or concave (nonlinear) synergy relationships. Conformant with military strategies that frequently involve a combination of overt and covert operations to achieve an operational objective, we also propose an alternative model for sequential overt and covert deployment of subsets of interdiction resources, and conduct theoretical as well as empirical comparative analyses between models for purely overt (with or without synergy) and composite overt-covert strategies to provide insights into absolute and relative threshold criteria for recommended resource utilization. In contrast to existing static models, in a fourth application, we present a novel dynamic network interdiction model that improves realism by accounting for interactions between an interdictor deploying resources on arcs in a digraph and an evader traversing the network from a designated source to a known terminus, wherein the agents may modify strategies in selected subsequent periods according to respective decision and implementation cycles. We further enhance the realism of our model by considering a multi-component objective function, wherein the interdictor seeks to minimize the maximum value of a regret function that consists of the evader's net flow from the source to the terminus; the interdictor's procurement, deployment, and redeployment costs; and penalties incurred by the evader for misperceptions as to the interdicted state of the network. For the resulting minimax model, we use duality to develop a reformulation that facilitates a direct solution procedure using the commercial software BARON, and examine certain related stability and convergence issues. We demonstrate cases for convergence to a stable equilibrium of strategies for problem structures having a unique solution to minimize the maximum evader flow, as well as convergence to a region of bounded oscillation for structures yielding alternative interdictor strategies that minimize the maximum evader flow. We also provide insights into the computational performance of BARON for these two problem structures, yielding useful guidelines for other research involving similar non-convex optimization problems. For the fifth application, we examine the problem of apportioning railcars to car manufacturers and railroads participating in a pooling agreement for shipping automobiles, given a dynamically determined total fleet size. This study is motivated by the existence of such a consortium of automobile manufacturers and railroads, for which the collaborative fleet sizing and efforts to equitably allocate railcars amongst the participants are currently orchestrated by the \textit{TTX Company} in Chicago, Illinois. In our study, we first demonstrate potential inequities in the industry standard resulting either from failing to address disconnected transportation network components separately, or from utilizing the current manufacturer allocation technique that is based on average nodal empty transit time estimates. We next propose and illustrate four alternative schemes to apportion railcars to manufacturers, respectively based on total transit time that accounts for queuing; two marginal cost-induced methods; and a Shapley value approach. We also provide a game-theoretic insight into the existing procedure for apportioning railcars to railroads, and develop an alternative railroad allocation scheme based on capital plus operating costs. Extensive computational results are presented for the ten combinations of current and proposed allocation techniques for automobile manufacturers and railroads, using realistic instances derived from representative data of the current business environment. We conclude with recommendations for adopting an appropriate apportionment methodology for implementation by the industry.
Ph. D.

Mickey-Mousing är en ljudläggningsmetod som använts sedan de tidiga tecknade filmerna i slutet på 1920-talet och beskrivs som en ”musikalisk imitation av fysisk rörelse”. Det har använts genom tiderna för att betona och förstärka de grafiska händelser som sker på filmduken, och har nu även förts in i ett nytt medie - datorspel. Det som undersöks i detta forskningsarbete är användandet av Mickey-Mousing, och dess legitimitet inom spelgenren fumblecore. Frågeställningen som undersökts lyder: Hur påverkar Mickey-Mousing spelupplevelsen i fumblecore-spel jämfört med diegetisk, realistisk ljudläggning?

This dissertation is in two parts. The first is the dissertation essay, which features an analysis of the work Mansion, and the second is the score to the Mansion Cycle, written for the International Contemporary Ensemble between 2009 and 2011. The score is included as an appendix, and consists of five works, which may be performed individually or as a complete cycle. In order of appearance, the works are Prism Path, Altar of Two Serpents, Mansion, Luciform, and Portals Before Dawn. The essay is an investigation of poetic and aesthetic concerns in my compositional practice, as well as an analysis of my composition Mansion, for two alto flutes, percussion, and pre-recorded electronics. Broadly describing the work as an "inner journey", I discuss the relationship of mythological themes to my music and titles, citing examples such as the labyrinth and the trope of the "central structure." I then relate these concepts to my use of form, citing other works in the cycle as points of comparison, and identifying ways in which recurring ideas are elaborated in my body of work. The historical context of my work in "mixed music" is briefly considered, alongside my aesthetic interest in the medium and my choice of musical tools. I then present a concise analysis of the discourse in Mansion, and describe how its language of "thresholds and contrasts" operates on a moment to moment level.

Music can positively affect game play and help players to understand underlying patterns in the game, or the effects of their actions on the characters. Conversely, inappropriate music can have a negative effect on players. While game makers recognize the effects of music on game play, solutions that provide users with a choice in personal music have not been forthcoming. I designed and evaluated an algorithm for automatically adapting any music track from a personal library so that is plays at the same rate as the user plays the game. I accomplish this without access to the video game's souce code, allowing deployment with any game and no modifications to the system.

碩士
世新大學
數位多媒體設計學系
104
Music is an essential element of computer game. An intricately designed game must also have high quality music. In music rhythm games, music is the heart and soul of the game that allows the player to be fully immersed in the game's atmosphere. Therefore, music plays an essential role in rhythm games. Through the music in these rhythm games, players will think of wonderful things and memories, and it is this emotional response that motivates the player to continue playing. This is also one of the key elements of a game's staying power. Good music can enhance the gameplay experience of the game, but also create the game's explicit and implicit values. However, the music used in rhythm games is usually pop music, electronic music, and other genres that have a stronger sense of rhythm. Even if the rhythm game had created in Taiwan, these games rarely use traditional Taiwanese music. Therefore, this study will rearrange traditional Taiwanese music, with a graduate student being responsible for the arrangements, and produce an experiment based on a rhythm game utilizing traditional Taiwanese music created by the student. The study will also includes literature review, game system prototype development and experiments, and control group experiments. The study will then discuss the feasibility of applying traditional Taiwanese music onto music rhythm games. In addition, whether it will affect the feel of these games, as well as affecting the game play, fun factor, and other similar elements or not. After the experiments and through the analysis of the questionnaire results, the study founds: the “fun factor” and “musical feel” of the rearranged traditional Taiwanese music can grasp the music's unique characteristics as well as experience the fun and joy that the game brings. The experiment shows that rearranged traditional music and original music have no obvious differences in feel. Regarding “gameplay”, the test subjects mostly felt that the combination of traditional music and rhythm games is a great application, because the music combined with the game can improve understanding of the music and the musical styles and genres. The study's results demonstrate that traditional Taiwanese music rearranged for the purpose of rhythm games has a significant positive effect. It also shows that traditional music does not differ too much in feel compared to pop or electronic music. Through these games, the gap between genres can be pulled closer for listeners, as well as provide game developers with cultural conservation or unit reference for future research

This article will attempt to further understanding as far as music and computer games are concerned. More specifically, it will focus on "Interactive Music". Interactivity in music has been developed and experimented upon since the early 1990's, and has many other applications besides its use in computer games. For instance, there are "Interactive Music Performances" and "Interactive Compositions" etc. Such areas of interactivity will not be explored and are too broad a topic to mention in this article. For the purposes of explaining concepts and ideas, comparisons will be drawn with media such as film, as they have some important similarities with computer games but are perhaps better understood and on the whole more accessible. To this end a terminology section has been included to provide the inexperienced computer user some idea of concepts, tools and language used in the computer world.
Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2005.

Effective game music is typically adaptive, interactive, or both. Changes in game music are usually influenced by the current state of the game or the actions of the player. To provide another dimension of interactivity, it would be useful to know the affective state of the human player. Biosignals are continuous signals generated by a person that can be measured over time, and have been shown to reflect affective state. This project demonstrates that control signals can be gathered from the player and mapped to musical parameters. Using a heart rate sensor and galvanic skin response sensor built from open source designs, we have used biosignals to control music playback while playing four games from different genres. A system for controlling game music with biosignals is computationally cheap, and can provide data that is useful to other game systems. The prototype developed for this project is basic, but with further research and development, we believe such a system will greatly improve the immersive experience of video games by involving the player on a new level.
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