Academic literature on the topic 'Video game composers'
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Journal articles on the topic "Video game composers"
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Golding, Dan. "Finding Untitled Goose Game’s Dynamic Music in the World of Silent Cinema." Journal of Sound and Music in Games 2, no. 1 (January 1, 2021): 1–16. http://dx.doi.org/10.1525/jsmg.2021.2.1.1.
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There are three unusual things about Untitled Goose Game’s music. First, for an independent video game produced by a small studio, the music is dynamic and reactive to a high degree. The game uses pre-recorded, non-generative musical performances and yet will respond to onscreen events within a buffer of only a few seconds at maximum. Second, the music takes inspiration not from other dynamic music systems in video games but from the varying practices of musical accompaniment for silent cinema and early comedy, aiming to replicate affect rather than process. Finally, the music for Untitled Goose Game takes the unusual step of adapting pre-existing classical music from the public domain—in this case, six of Claude Debussy’s Préludes for solo piano—rather than creating an original score intended from its conception to be dynamic. Accordingly, this article outlines the dynamic music system at work in Untitled Goose Game and the influence drawn on for this system from non–video game approaches to musical accompaniment. The article discusses the varying practices for music for the silent era of cinema, the theoretical frameworks used to conceptualize these many divergent approaches, and how closely we might recognize their legacy at work in Untitled Goose Game’s soundtrack. Ultimately, this article argues that by looking to approaches beyond more familiar debates about dynamic music for video games, Untitled Goose Game helped shortcut familiar problems that confront developers and composers when working with dynamic and reactive music.
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Herro, Danielle C., Lorraine Lin, and Michelle Fowler. "Meet the (media) producers: artists, composers, and gamemakers." Journal of Applied Research in Higher Education 9, no. 1 (February 6, 2017): 40–53. http://dx.doi.org/10.1108/jarhe-04-2015-0029.
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Purpose The purpose of this paper is to detail the perceived influence of early gaming habits toward media production from seven students enrolled at a university in the Southeastern US. Participants identified as heavily involved in creating media such as anime, videos, fanfiction, webcomics, games, and digital music. Design/methodology/approach This exploratory study used qualitative research, thus data collection and analysis included questionnaires, interviews, and artifacts identifying and categorizing six main themes: game play preferences, persistence, early connections between game play and media, support and feedback, creations inspired by games, and significance of games in current lives. Findings The study found that most participants believed game play in childhood influenced increasingly complex media production habits. Six of the seven believed game play influenced their career path. The paper concludes with implications for education including games as conduits to personalized learning and career paths. Originality/value Results from this study extend prior research on the value of games to promote media production and meet personal and professional goals. This is significant as prior research linking early game play to media production influencing career goals is sparse.
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Maggiorini, Dario, Laura Anna Ripamonti, and Federico Sauro. "Unifying Rigid and Soft Bodies Representation: The Sulfur Physics Engine." International Journal of Computer Games Technology 2014 (2014): 1–12. http://dx.doi.org/10.1155/2014/485019.
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Video games are (also) real-time interactive graphic simulations: hence, providing a convincing physics simulation for each specific game environment is of paramount importance in the process of achieving a satisfying player experience. While the existing game engines appropriately address many aspects of physics simulation, some others are still in need of improvements. In particular, several specific physics properties of bodies not usually involved in the main game mechanics (e.g., properties useful to represent systems composed by soft bodies), are often poorly rendered by general-purpose engines. This issue may limit game designers when imagining innovative and compelling video games and game mechanics. For this reason, we dug into the problem of appropriately representing soft bodies. Subsequently, we have extended the approach developed for soft bodies to rigid ones, proposing and developing a unified approach in a game engine: Sulfur. To test the engine, we have also designed and developed “Escape from Quaoar,” a prototypal video game whose main game mechanic exploits an elastic rope, and a level editor for the game.
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Hambleton, Elizabeth. "Gray Areas." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 20–43. http://dx.doi.org/10.1525/jsmg.2020.1.1.20.
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“Navigable narratives” are a subgenre of narrative-based video games under the umbrella definition of “walking simulators.” While they are a subgenre of video games, analyzing their score or soundscape purely through a video game lens paints an incomplete picture because of their different artistic focus. Models like Elizabeth Medina-Gray's modular analysis are a useful start but insufficient on their own to understand this genre's sound. Rather, a participant's experience in a navigable narrative is often quite similar to that of a soundwalk, especially a virtual reality soundwalk; the game composer/audio designer creates an intricate soundscape through which the participant moves, and with the main focus on the story and gradual travel, the participant has more time and capacity than in a typical video game to build meaning from the soundwalk they perform. One of the major relationships navigable narratives have with soundwalks is the breakdown of diegesis in the soundscape the participant takes in, which is unlike most video games. To analyze the soundwalk and also the soundscape present in navigable narratives, I draw from R. Murray Schafer, Hildegard Westerkamp, and Janet Cardiff. In the opposite direction, in many ways navigable narratives are very much like “literary computer games,” or interactive narratives that may be analyzed via “ludostylistics” à la Janet Murray and Astrid Ensslin. A key element in many navigable narratives is the use of narrative time, as described by Alicyn Warren, rather than real time, which also sets navigable narratives apart from standard video games and especially from soundwalks. To explore these varied models and lenses, I demonstrate an analytical approach, using Leaving Lyndow (2017) as my primary case study. And so, between these analytical lenses of video game music theory, soundscape and soundwalk study, and ludostylistics applicable to literary computer games, I posit that the sound of navigable narratives is best understood through a synthesis of all three.
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Wajid, Abdul, Nasir Kamal, Muhammad Sharjeel, Raaez Muhammad Sheikh, Huzaifah Bin Wasim, Muhammad Hashir Ali, Wajahat Hussain, Syed Taha Ali, and Latif Anjum. "A First Look at Private Communications in Video Games using Visual Features." Proceedings on Privacy Enhancing Technologies 2021, no. 3 (April 27, 2021): 433–52. http://dx.doi.org/10.2478/popets-2021-0055.
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Abstract Internet privacy is threatened by expanding use of automated mass surveillance and censorship techniques. In this paper, we investigate the feasibility of using video games and virtual environments to evade automated detection, namely by manipulating elements in the game environment to compose and share text with other users. This technique exploits the fact that text spotting in the wild is a challenging problem in computer vision. To test our hypothesis, we compile a novel dataset of text generated in popular video games and analyze it using state-of-the-art text spotting tools. Detection rates are negligible in most cases. Retraining these classifiers specifically for game environments leads to dramatic improvements in some cases (ranging from 6% to 65% in most instances) but overall effectiveness is limited: the costs and benefits of retraining vary significantly for different games, this strategy does not generalize, and, interestingly, users can still evade detection using novel configurations and arbitrary-shaped text. Communicating in this way yields very low bitrates (0.3-1.1 bits/s) which is suited for very short messages, and applications such as microblogging and bootstrapping off-game communications (dialing). This technique does not require technical sophistication and runs easily on existing games infrastructure without modification. We also discuss potential strategies to address efficiency, bandwidth, and security constraints of video game environments. To the best of our knowledge, this is the first such exploration of video games and virtual environments from a computer vision perspective.
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Millán, Anthony, Moises Mebarak, Martha Martínez-Banfi, Jeyleen Blanco, Daniela Rodríguez, María D'Aubeterre, and Mariano Chóliz. "Estructura del Test de Dependencia a los Videojuegos, relación con el juego, diferencias sexuales y tipologías de dependencia al juego en una muestra colombiana." Revista de Psicopatología y Psicología Clínica 26, no. 1 (April 16, 2021): 57. http://dx.doi.org/10.5944/rppc.27847.
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Structure of the Video Game Dependence Test, relationship with playing, sex differences and typology of gambling dependence in a Colombian sampleAbstract: The objective of this study was to analyze the factorial structure and psychometric properties of the Video Game Dependence Test (TDV; Cholíz & Marco, 2011) in a Colombian sample, its ability to predict weekly game time, as well as differences by sex. The TDV was completed by a sample of 738 participants aged from 16 to 38 years. The factorial structure of the TDV was composed of these factors: impulsive gambling, compulsive gambling, and associated problems, constituting excellent predictors of weekly gambling time. Finally, we found 4 types of Video Game Dependence (DV): occasional gamer without DV, Gamer with DV awareness, Problematic gamer without DV awareness, and Frequent gamer without DV, 2 of which have a problematic relationship with video games.Keywords: Problematic gambling; dependence on videogames; psychological addiction; gamers; play frequency.Resumen: El objetivo del presente estudio fue examinar la estructura factorial y las propiedades psicométricas del Test de Dependencia de Videojuegos (TDV; Cholíz y Marco, 2011) con población colombiana, su capacidad para predecir el tiempo de juego semanal, así como las diferencias en función del sexo. El TDV fue cumplimentado por una muestra de 738 participantes, con edades entre los 16 y los 38 años. La estructura factorial de la TDV estaba compuesta por los siguientes factores: juego impulsivo, juego compulsivo y percepción de problemas asociados, los cuales fueron excelentes predictores del tiempo de juego semanal. Finalmente, encontramos 4 tipos de dependencia a los videojuegos (DV): jugador ocasional sin DV, jugador con conciencia de DV, jugador problemático sin conciencia de DV y jugador frecuente sin DV, de los cuales 2 de ellos tienen una relación problemática con los videojuegos.Palabras clave: Juego problemático; dependencia a los videojuegos; adicción psicológica; video jugadores; frecuencia de juego.
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Mendonça, Carlos Magno Camargos, and Filipe Alves de Freitas. "Game as text as game: the communicative experience of digital games." Comunicação e Sociedade 27 (June 29, 2015): 253–72. http://dx.doi.org/10.17231/comsoc.27(2015).2100.
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We propose to regard video game as text, but not by literally understanding it as a verbal expression, and instead recognizing that many assumptions of literary theory are relevant to its analysis. This option seems to put us in sync with the narratologists, who exalt games as new manifestations of narrative, but cling to a conception of text as world that values illusionist effects. Instead, we are interested in experiences that, against this perspective, recognize the possibility of regarding game as a text that is a game - an incomplete object that is to be updated by the reader in a self-reflective relationship with the signs that compose it, a central notion to theories such as Iser’s and Dewey’s. Then, instead of focusing on strategies of immersion on large virtual worlds, we favor small independent casual games (such as Small Worlds, Grey, The Beggar, and Dys4ia) analyzing how, in these, take place experiences that allow us to re-examine the aesthetic potential of the medium.
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Possati, Luca M. "Is There a Digital World?" Techné: Research in Philosophy and Technology 25, no. 1 (2021): 1–25. http://dx.doi.org/10.5840/techne2021120130.
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This article discusses the relation between software and human experience. I argue that software-based experiences are based on a radical discrepancy between the code and “lived experience.” This break is different than the so-called “opacity” of technology. I start analyzing a case study: the video game Assassin’s Creed Odyssey. Video games are one of the most profound digital experiences humans can have. When I play a video game I do not see the code. However, the code is the source of my experience. I claim that the code’s concealment is the necessary condition of the digital experience. I discuss the ontological definition of software as an entity. Software, I claim, is a complex object, composed of many different levels, whose unity is problematic. In the last part of the essay I argue that the break between lived experience and code is recomposed by imagination through the act of design.
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COLLINS, KAREN. "In the Loop: Creativity and Constraint in 8-bit Video Game Audio." Twentieth-Century Music 4, no. 2 (September 2007): 209–27. http://dx.doi.org/10.1017/s1478572208000510.
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AbstractThis article explores the sound capabilities of video game consoles of the 8-bit era (c.1975–85) in order to discuss the impact that technological constraints had on shaping aesthetic decisions in the composition of music for the early generation of games. Comparing examples from the Commodore 64 (C64), the Nintendo Entertainment System (NES), the Atari VCS, and the arcade consoles, I examine various approaches and responses (in particular the use of looping) to similar technological problems, and illustrate how these responses are as much a decision made by the composer as a matter of technical necessity.
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Vallade, Benoît, Alexandre David, and Tomoharu Nakashima. "Three Layers Framework Concept for Adjustable Artificial Intelligence." Journal of Advanced Computational Intelligence and Intelligent Informatics 19, no. 6 (November 20, 2015): 867–79. http://dx.doi.org/10.20965/jaciii.2015.p0867.
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This paper proposes a concept of layered framework for adjustable artificial intelligence. Artificial intelligences are used in various areas of computer science for decision making tasks. Traditionally artificial intelligences are developed in order to be used for a specific purpose within a particular software. However, this paper stands as the first step of a research in progress whose final objective is to design an artificial intelligence adjustable to every types of problems without any modification in its source code. The present work focuses on a framework of such an artificial intelligence and is conducted in the context of video games. This framework, composed of three layers, would be re-usable for all types of game.
Dissertations / Theses on the topic "Video game composers"
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Young, David M. "Adaptive Game Music: The Evolution and Future of Dynamic Music Systems in Video Games." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340112710.
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Åberg, Ellinor. "Game music: from composer to consumer." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27285.
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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.
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Alantar, Tristan. "The digital revolution : how technology changed the workflow of composers for media = La révolution numérique : comment les technologies ont changé les méthodologies de travail pour les compositeurs à l'image." Thesis, 2020. http://hdl.handle.net/1866/25685.
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Les technologies ont façonné et façonnent les méthodes de travail des compositeurs de musique à l’image : en termes de communications, de méthodologie et au niveau des compétences requises. De La Planète Interdite au Covid-19, nous examinerons comment les méthodologies de travail des compositeurs de musique à l’image ont changé au fil des ans.Technologies have shaped, and still do so, the way music composers for screen work: communication-wise, in their creative workflow and in their skill sets. From Forbidden Planet to Covid-19, we will examine how and in what way the workflows of music composers have changed throughout the years.
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Harbour, Tim. "Music in Indie video games: a composer's perspective on musical approaches and practices." Thesis, 2016. http://hdl.handle.net/10539/22634.
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A thesis submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in
fulfilment of the requirements for the Degree of Master of Music
Johannesburg, 2016In this part-written, part-composed creative research project I consider the music of ‘indie’ video games, specifically exploring some of the myriad dynamic compositional approaches in this particular category of game development. In my written work I analyse three indie video games – Braid (2008), Fez (2012) and Journey (2012) – each of which use unique methods to apply music dynamically. I use interviews with the games’ creators, as well as close analysis and transcription of significant sections of each video game, in order to reveal how music is used to provide the player with a more immersive, satisfying, and involving gaming experience. I also consider the use of ambient music in indie video games, a common feature of a large number of contemporary games, weighing up its merits and limitations. Musical concepts and compositional approaches raised in my written work have informed the portfolio of compositions submitted for this degree, and, similarly, my creative work has informed my analytical research. My creative work explores, amongst other aspects, indeterminate form, ambient music, and ways of ‘looping’ material in the creation of unrepeatable structures. This thesis also considers music which functions narratively in games – a function that might necessitate a greater degree of musical linearity — and how this musical role might be incompatible with the demands of interactivity. After briefly introducing the concepts dealt with across this thesis in Chapter 1, Chapters 2 to 4 take the form of case studies of the indie games mentioned above, with each chapter tackling unique challenges that game composers face when writing music for non-linear games, by which I mean games structured so that not all players will experience the content in the same order due to player agency. More specifically, Chapter 2 deals with the game Braid and its use of pre-composed, licensed music and how the game’s developer applies this music dynamically to the game. Chapter 3 deals with Fez and its mainly adaptive musical approach, its built-in software music engine, ‘Fezzer’, which allows for a composer to input and manipulate musical loops in the game, and nostalgia in indie video game aesthetics. Chapter 4 centres on the video game Journey and on how autonomous, ‘narrative’ music in video games might be seen to exist in opposition to music’s ability to be truly dynamic. Finally, Chapter 5 reflects on my own creative work for this thesis; how concepts from the case studies have informed my creative work and vice versa.
MT2017
Books on the topic "Video game composers"
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Keeping score: Interviews with today's top film, television, and game music composers. Boston, MA: Course Technology/CENGAGE Learning, 2010.
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Zager, Michael. Writing music for television and radio commercials (and more): A manual for composers and students. 2nd ed. Lanham, Md: Scarecrow Press, 2008.
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1969-, Gold Murray, ed. Soundtrack nation: Interviews with today's top professionals in film, videogame and television scoring. Boston: Course Technology, 2011.
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Gibbons, William. Playing Chopin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0010.
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This chapter explores two video games that feature the nineteenth-century pianist and composer Frédéric Chopin as the main character: the Japanese role-playing game Eternal Sonata and the mobile game Frederic: Resurrection of Music. The chapter begins by examining three mythic identities that have shaped audience’s understandings of Chopin and his music and that play a role in Eternal Sonata and Frederic: the salon composer, the Romantic composer, and the Slavic composer. To address the challenges of creating a compelling video game narrative about a real-world composer, both games employ innovative but problematic narrative strategies to transform Chopin into a more stereotypically heroic character. Moreover, both games include his music in ways designed to reinforce its musical greatness and increase the music’s appeal to younger audiences.
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Kellman, Noah. The Game Music Handbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.001.0001.
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Writing music for games is an art that requires conceptual forethought, specialized technical skill, and a deep understanding of how players interact with games and game audio. The Game Music Handbook embarks on a journey through numerous soundscapes throughout video game history, exploring a series of concepts and techniques that are key to being a successful game music composer. This book organizes key game music scoring concepts into an applicable methodology, describing them with memorable distinctions that leave readers with a clear picture of how to apply them to creating music and sound. Any music composer or musician who wishes to begin a career in game composition can pick up this text and quickly gain a solid understanding of the core techniques for composing video game music, as well as the conceptual differences that separate it from any other compositional field. Some of these topics include designing emotional arcs for nonlinear timelines, the relationship between music and sound design, discussion of the player’s interaction with audio, and more. There is also much to be gained by advanced readers or game audio professionals, who will find detailed discussion of game state and its effect on player interaction, a composer-centric lesson on programming, how to work with version control, information on visual programming languages, emergent audio, music for virtual reality (VR), procedural audio, and other indispensable knowledge about advanced reactive music concepts. The text often explores the effect that music has on a player’s interaction with a game. It discusses the practical application of this interaction through the examination of various techniques employed in games throughout video game history to enhance immersion, emphasize emotion, and create compelling interactive experiences.
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McAlpine, Kenneth B. Fakebit, Fans, and 8-Bit Covers. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0010.
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Musicians have for centuries reinterpreted and recontextualized the music of other songwriters, composers and performers, and this chapter explores how this musical reinvention has manifested itself as part of the contemporary chipscene. The chapter explores how in the early days of 8-bit gaming, game soundtracks often borrowed heavily from the popular electronic music of the time, often featuring arrangements of Jarre, Vangelis, and Yellow Magic Orchestra. The chapter also explores how, today, there are bands who take those classic video game themes and perform them as live five- or six-piece rock bands. It discusses how social media has provided a platform for the performance and distribution of video game covers and examines how, as musicians have demanded simple, self-contained production environments to develop chip music, new hardware and software synthesizers have been developed to meet that need, an approach that is known as fakebit and that highlights the value that different participants in the scene place on authenticity.
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Writing Interactive Music for Video Games: A Composer's Guide. Addison-Wesley Professional, 2014.
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McAlpine, Kenneth B. Nintendo’s NES. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0005.
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The North American video game crash of 1983 made it difficult for Nintendo to break into the American market with its new console, the Nintendo Entertainment System. When it finally did gain a toehold in 1986, it was the Nintendo ‘Seal of Quality’, a graphical rosette that was emblazoned on every official Nintendo release, that encouraged consumers to buy video game cartridges once more. This chapter explores how the difficulties in getting the Nintendo Entertainment System to market, coupled with a strong sense of house style, played an important part in creating a consistency in the 8-bit sound, in terms of both quality and style. The chapter focuses on Super Mario Bros., the game that defined the Nintendo Entertainment System. Its catchy soundtrack captured the qualities of the gameplay. It discusses how the game’s composer, Koji Kondo, defined the formal grammar and style of a new form of media music, the interactive game underscore, and worked with the hardware to create a light, jazz-inspired sound.
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Gibbons, William. Violent Offenders and Violin Defenders. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0009.
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This chapter considers video games that feature classical music and musicians as part of their narrative. In that setting, musicians often act as stand-ins both for art as a whole and for its cultural roles. Case studies include two very different musicians: in Fallout 3, the gentle violinist Agatha, for whom the player tries to retrieve a family heirloom, a Stradivarius violin; and in BioShock, the psychopathic composer Sander Cohen, an artist driven mad by his pursuit of artistic perfection. Finally, the chapter turns to Mozart: Le Dernier secret as an example of the unique challenges of including real-world classical musicians in metafictional narratives.
Book chapters on the topic "Video game composers"
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Kellman, Noah. "What Is “Game Music”?" In The Game Music Handbook, 27–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.003.0003.
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Game music is an eclectic term, encompassing the many different musical genres that are used in video game scores. This chapter introduces readers to important game music history while seeking to define what musical characteristics are unique to game music. As composers found creative ways to work within the scope of this limited technology, unique challenges led to the conception of a new body of musical work that would later be referred to by the gaming world as “video game music,” or just “game music” for short. This chapter explores the history and development of game music as a genre. It focuses on analyzing how the limitations of previous gaming systems influenced composers to make specific musical choices, while also seeking to define what aesthetic characteristics are unique to video game music and how interactivity has led to new musical forms.
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Kellman, Noah. "Using Musical Codes to Enhance the Gaming Experience." In The Game Music Handbook, 51–68. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.003.0005.
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Musical codes are musical devices, including melodies, timbres, or themes that carry predetermined associations for the listener. These types of codes have been used frequently in the world of film. However, the strange visual landscapes of video games provide composers with interesting opportunities to utilize and combine these codes in new ways to elicit different responses from the player. This chapter explores the different characteristics of sound that carry associations and how one can use these sounds to create new ones. It dives into a variety of well-known games that have used this technique and discusses the effectiveness, or conversely the ineffectiveness, of the resulting portrayal. Since codes can also be attached to a specific time period, this chapter also covers the concept of using codes in the creation of musical anachronism: using musical codes to layer multiple time periods on top of each other to blur the game’s timeline or create a stacked temporal atmosphere.
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Kellman, Noah. "Music versus Sound Design." In The Game Music Handbook, 91–102. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.003.0007.
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Each video game has its own unique, visual aesthetic, and it’s up to the composer to complement this visual world by creating a sonic atmosphere. Many of the greatest games have incorporated musical elements into their sound effects and ambiences. As the field of game music continues to grow, so does the importance of sound design as part of the composer’s skill set. This chapter explores how music and sound effects have interacted throughout the history of game music, defining these relationships for the reader in understandable terms with clear distinctions and accessible examples. This chapter explores FEZ (2012) as an example, along with a variety of other examples in which the music and sound effects were conceived with different levels of interconnectivity.
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Margounakis, Dimitrios, and Ioanna Lappa. "Music in Video Games." In Advances in Multimedia and Interactive Technologies, 160–82. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0264-7.ch008.
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The industry of video games has rapidly grown during the last decade, while “gaming” has been promoted into an interdisciplinary stand-alone science field. As a result, music in video games, as well as its production, has been yet a state-of-the-art research field in computer science. Since the production of games has reached a very high level in terms of complication and cost (the production of a 3-d multi-player game can cost up to millions of dollars), the role of sound engineer / composer / programmer is very crucial. This chapter describes the types of sound that exist in today's games and the various issues that arise during the musical composition. Moreover, the existing systems and techniques for algorithmic music composition are analyzed.
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Ozawa, Junko, and Lyman Gamberton. "Waveform Wizard: An Interview with Composer Junko Ozawa." In The Cambridge Companion to Video Game Music, 52–58. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108670289.005.
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Barrett, Nichole M. "Talking Through the Design." In Handbook of Research on Integrating Digital Technology With Literacy Pedagogies, 32–51. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0246-4.ch002.
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In this chapter the author details the experiences of one high school English language arts teacher, Mr. Jeremiah Johnson, and the literacy pedagogy he enacted in order to support students as they composed with digital video. The author will highlight the ways that a dialogic, design-based pedagogy gave students in an after-school film club the opportunity to explore digital design and navigate compositional challenges, all while retaining autonomy over their projects. The chapter adds to the scholarship by drawing attention to social literacy practices and process as transformational meaning-making opportunities for students that foreground individual identities and literacies.
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Sheppard, W. Anthony. "Conclusions? or, Contemporary Representations and Reception." In Extreme Exoticism, 372–428. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0010.
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This chapter focuses on examples of American japonisme and interactions with traditional Japanese culture from the past few decades, thereby revealing connections with older representational techniques and concerns. The chapter starts with an extended discussion of Stephen Sondheim’s Broadway musical Pacific Overtures and a brief discussion of films during the trade war period. The second section focuses on Weezer’s Pinkerton album as a continuation of Tin Pan Alley exoticism. In the early twenty-first century, multiple female pop stars (Madonna, Katy Perry) appropriated the geisha image in performance. The chapter then turns toward Asian American postmodern attempts to undermine Orientalism, as in David Henry Hwang’s M. Butterfly. Recently, organizations such as the Japan Society have commissioned numerous American composers to create works for Japanese instruments. In addition, numerous Americans have become professional shakuhachi players and teachers. The chapter concludes with recent examples of japonisme aimed particularly at children (animation, video games).
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Stead, Henry. "The Only Tone for Terror: Tony Harrison and the Gorgon’s Gaze." In New Light on Tony Harrison, 205–20. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0017.
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This chapter introduces the reader to Tony Harrison’s audiovisual poetry, composed for and broadcast on British television through the late 1980s and 1990s. Harrison has to date made twelve full documentary film-poems, and one film-poem feature, entitled Prometheus (1998). They all brim with the darker side of European history, current affairs and class politics, and explore what limits of what poetry might do, and how it might do it, in the televisual age. The chapter sets Harrison’s film poetry in its cultural context by paying attention to the poet’s major influences in the experimental medium (John Grierson’s GPO film unit and early Soviet filmmaking), before homing in on his 1992 film-poem The Gaze of the Gorgon as a species of social psychotherapy. The act of gazing at the Medusa-like and thus usually petrifying image of twentieth-century atrocity is offered here not as a ‘dope’ to mankind, but a stimulant towards its cure. The film-poem draws explicitly on Nietzsche’s concept of ‘Dionysiac art’ and Simone Weil’s pacifist notion of ‘force’, and Robert Jay Lifton’s work on trauma and the holocaust. Harrison’s hugely ambitious and uniquely accessible film-poems are currently publically unavailable. Are they the ‘missing link’ in the evolution of contemporary film and video poetry?
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Cirrincione, Armando. "Multimedia Technologies in Education." In Encyclopedia of Multimedia Technology and Networking, Second Edition, 1017–22. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch137.
Full textAbstract:
Multimedia technologies (MMT) are tools that make it possible to transmit information in a very large meaning, transforming them into knowledge through leveraging the learning power of senses in learners and stimulating their cognitive schemes. This kind of transformation can assume several different forms: from digitalized images to virtual reconstructions; from simple text to iper-texts that allow customized, fast, and cheap research within texts; from communications framework like the Web to tools that enhance all our senses, allowing complete educational experiences (Piacente, 2002b). MMT are composed by two great conceptually-different frameworks (Piacente, 2002a): • Technological supports, such as hardware and software: this refers to technological tools such as mother boards, displays, videos, audio tools, databases, communications software and hardware, and so on, that make it possible to transfer contents; • Contents: this refers to information and knowledge transmitted with MMT tools. Information is simply data (such as visiting timetable of museum, cost of tickets, the name of the author of a picture), while knowledge comes from information elaborated in order to get a goal. For instance, a complex iper-text about a work of art, where several pieces of information are connected in a logical discourse, is knowledge. For the same reason, a virtual reconstruction comes from knowledge about the rebuilt facts. Contents can also be video games, as far as they are conceived for educational purposes (Egenfeldt-Nielsen, 2005; Gros, 2007). It is relevant to underline that to some extent technological supports represent a condition and a limit for contents (Wallace, 1995). In other words, content could be expressed just through technological supports, and this means that content has to be made in order to fit for specific technological support, and that the limits of a specific technological support are also the limits of its content. For instance, the specific architecture of a database represents a limit within which contents have to be recorded and have to be traced. This is also evident when thinking about content as a communicative action: Communication is strictly conditioned by the tool that we are using.
Conference papers on the topic "Video game composers"
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Puerta-Cortés, Diana Ximena, Jennifer Karina Hernández, Ana María Olaya, José Tovar, and Daniel Varela. "Training the working memory in older adults with the “Reta tu Memoria” video game." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10219.
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The objective of this study was to train the visuospatial and semantic working memory of a sample of Colombian older adults through the design of a serious game. The sample was composed of 20 older adults whose ages ranged from 50 to 77 years and showed signs of normal ageing. The sample belonged to the Edad de Oro group from the Universidad de Ibagué in Colombia. Participation in this study was voluntary, and the socio-demographic data and Mini-Mental state examination questionnaires were administered. The video game’s creative process was developed over six months by a team made up of psychologists and systems engineers. The video game was created using 2D Construct3 game editor, and the use of JavaScript programming language and an advanced knowledge of HTML were required. Before training, two pilot sessions were carried out to adjust the video game structure. After that, the procedure was applied to the sample for 20 sessions. The time spent and errors made in the video game’s five levels were registered. The results show values of significant effect size. In conclusion, the Latin American samples help corroborate the central training hypothesis. Training through video games leads to improved visuospatial and semantic working memory performance.
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Valero Solis, Susana. "Identification of phenotypes in video games addiction: a person-centered approach." In 22° Congreso de la Sociedad Española de Patología Dual (SEPD) 2020. SEPD, 2020. http://dx.doi.org/10.17579/sepd2020p093.
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Background and objectives. Video game addiction (VGA) is characterized by a pattern of impaired control gaming behavior, prioritizing gaming over other daily activities and responsibilities. The rapid increases of the VGA rates worldwide advice the urge of new studies focused on examining the existence of differences in the phenotype of patients treatment-seeking due the problematic video game use. Method. Sample comprised n=107 participants recruited at the Pathological Gambling Outpatients Unit of the Bellvitge University Hospital (Barcelona). Mean age was 24.1 yrs-old (SD=10). Most participants were men (91.6%), single (88.8%) and into mean-low to low social position indexes (84.1%). Two-step clustering analysis explored empirical latent groups based on a broad set of indicators, including sociodemographic, psychopathological state and personality traits. Results. Two exclusive groups emerged. Cluster 1 (labeled as moderate maladaptative functioning, n=72, 66.1%), was composed mainly by single, unemployed men, with the younger age of onset, the earlier onset of the video game problematic use, the shorter progression of the problems, better psychopathological state and more functional personality traits. Cluster 2 (labeled as severe maladaptative functioning, n=35, 32.7%), included a higher proportion of not-single and employed women, with an older age, a later onset and a longer duration of the video game related problems, worse psychopathological state and more dysfunctional personality profile. Conclusion. VGA is a heterogeneous group with regard to gambling phenotypes. The identification of the diverse latent classes provide empirical evidence contributing to the conceptualization of this behavioral addition, as well as for developing reliable and valid screening tools and effectiveness intervention plans focused on the precise characteristics of the patients.