Relevant bibliographies by topics / Video game music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Video game music'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 February 2023

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Journal articles on the topic "Video game music"

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Wibowo, Tony. "Music Effect Studies in The Experience of Playing Video Games with Qualitative and Quantitative Approaches." JOURNAL OF INFORMATICS AND TELECOMMUNICATION ENGINEERING 3, no. 1 (July 25, 2019): 48. http://dx.doi.org/10.31289/jite.v3i1.2598.

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<em>This research is conducted to determine how music affects the video game experience. Effect of music in video game is considered important in building emotion and scene in video game but always considered below graphics and gameplay importance, moreover they are rarely a scientific approach to prove how music of video game affect its player. This research uses qualitative approach using experimental method; and quantitative approach to further prove the correlation. The experiment uses three games with four music variation, each consisting of 30 participants. The game we used are agar.io, Dots, Typing Challenge. Result of the experiment shows that music is able affects gaming performance is positively depending on genre of video game. Questionnaire response from every participant indicate that music has a strong correlation to video game experience and gamer’s performance. Music affect significantly performance in Games that design to be fast paced and quick reaction; but not really shown in slow paced and tactical approached games. Further study needs to be conducted to see how the video game music affecting player combined with other elements of video game.</em>
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Grasso, Julianne. "On Canons as Music and Muse." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 82–86. http://dx.doi.org/10.1525/jsmg.2020.1.1.82.

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Canons—of music, video games, or people—can provide a shared pool of resources for scholars, practitioners, and fans; but the formation of canons can also lead to an obscuring or devaluing of materials and people outside of a canon. The four authors in this colloquy interrogate issues of canons relating to video game music and sound from a variety of perspectives. Each author considers an aspect of canonization and argues for a wider purview. In “Rewritable Memory: Concerts, Canons, and Game Music History,” William Gibbons examines the ways in which concerts of video game music may create canons and reinforce particular historical narratives. In “On Canons as Music and Muse,” Julianne Grasso views the music originally presented in a video game as itself a type of canon and argues that official and fan arrangements of original game music may provide windows into lived experiences of play. In “The Difficult, Uncomfortable, and Imperative Conversations Needed in Game Music and Sound Studies,” Hyeonjin Park highlights issues of diversity and representation in the field of video game music and sound studies, with respect to the people and music that make up the subjects of the field, the people who produce scholarship in the field, and the people who engage with game music and sound. In “Canon Anxiety?” Karen Cook pulls together various issues of academic canons to question the scope, focus, and diversity of the growing field in which the Journal of Sound and Music in Games exists.
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Gibbons, William. "Rewritable Memory: Concerts, Canons, and Game Music History." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 75–81. http://dx.doi.org/10.1525/jsmg.2020.1.1.75.

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Canons—of music, video games, or people—can provide a shared pool of resources for scholars, practitioners, and fans; but the formation of canons can also lead to an obscuring or devaluing of materials and people outside of a canon. The four authors in this colloquy interrogate issues of canons relating to video game music and sound from a variety of perspectives. Each author considers an aspect of canonization and argues for a wider purview. In “Rewritable Memory: Concerts, Canons, and Game Music History,” William Gibbons examines the ways in which concerts of video game music may create canons and reinforce particular historical narratives. In “On Canons as Music and Muse,” Julianne Grasso views the music originally presented in a video game as itself a type of canon and argues that official and fan arrangements of original game music may provide windows into lived experiences of play. In “The Difficult, Uncomfortable, and Imperative Conversations Needed in Game Music and Sound Studies,” Hyeonjin Park highlights issues of diversity and representation in the field of video game music and sound studies, with respect to the people and music that make up the subjects of the field, the people who produce scholarship in the field, and the people who engage with game music and sound. In “Canon Anxiety?” Karen Cook pulls together various issues of academic canons to question the scope, focus, and diversity of the growing field in which the Journal of Sound and Music in Games exists.
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Park, Hyeonjin. "The Difficult, Uncomfortable, and Imperative Conversations Needed in Game Music and Sound Studies." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 87–94. http://dx.doi.org/10.1525/jsmg.2020.1.1.87.

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Canons—of music, video games, or people—can provide a shared pool of resources for scholars, practitioners, and fans; but the formation of canons can also lead to an obscuring or devaluing of materials and people outside of a canon. The four authors in this colloquy interrogate issues of canons relating to video game music and sound from a variety of perspectives. Each author considers an aspect of canonization and argues for a wider purview. In “Rewritable Memory: Concerts, Canons, and Game Music History,” William Gibbons examines the ways in which concerts of video game music may create canons and reinforce particular historical narratives. In “On Canons as Music and Muse,” Julianne Grasso views the music originally presented in a video game as itself a type of canon and argues that official and fan arrangements of original game music may provide windows into lived experiences of play. In “The Difficult, Uncomfortable, and Imperative Conversations Needed in Game Music and Sound Studies,” Hyeonjin Park highlights issues of diversity and representation in the field of video game music and sound studies, with respect to the people and music that make up the subjects of the field, the people who produce scholarship in the field, and the people who engage with game music and sound. In “Canon Anxiety?” Karen Cook pulls together various issues of academic canons to question the scope, focus, and diversity of the growing field in which the Journal of Sound and Music in Games exists.
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Cook, Karen M. "Canon Anxiety?" Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 95–99. http://dx.doi.org/10.1525/jsmg.2020.1.1.95.

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Canons—of music, video games, or people—can provide a shared pool of resources for scholars, practitioners, and fans; but the formation of canons can also lead to an obscuring or devaluing of materials and people outside of a canon. The four authors in this colloquy interrogate issues of canons relating to video game music and sound from a variety of perspectives. Each author considers an aspect of canonization and argues for a wider purview. In “Rewritable Memory: Concerts, Canons, and Game Music History,” William Gibbons examines the ways in which concerts of video game music may create canons and reinforce particular historical narratives. In “On Canons as Music and Muse,” Julianne Grasso views the music originally presented in a video game as itself a type of canon and argues that official and fan arrangements of original game music may provide windows into lived experiences of play. In “The Difficult, Uncomfortable, and Imperative Conversations Needed in Game Music and Sound Studies,” Hyeonjin Park highlights issues of diversity and representation in the field of video game music and sound studies, with respect to the people and music that make up the subjects of the field, the people who produce scholarship in the field, and the people who engage with game music and sound. In “Canon Anxiety?” Karen Cook pulls together various issues of academic canons to question the scope, focus, and diversity of the growing field in which the Journal of Sound and Music in Games exists.
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JEDWILLAT, LUISA, and NATALIA NOWACK. "A GAME WITH MUSIC OR MUSIC WITH A GAME? ABOUT THE VIDEO GAME KARMAFLOW." Art and Science of Television 16, no. 4 (2020): 85–108. http://dx.doi.org/10.30628/1994-9529-2020-16.4-85-108.

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Over 70 years ago, Theodor W. Adorno and Hanns Eisler philosophized about functional music in their programmatic script Composing for the Films. In spite of all the social criticism that the authors practiced with relish, it was already about the essential—the determination of a meaningful coexistence of synergetically connected art events. With the spread of video games, the question arises again and again: how to combine action and sound without falling prey to Mickey Mousing effect? As one of the youngest branches of music studies, ludomusicology describes a number of musical application scenarios, systematized according to effects and techniques. Their principles are comprehensible—under normal circumstances. With the Karmaflow—The Rock Opera Videogame, however, a project was started that leads to a new configuration between the media: in this game you play, in a manner of speaking, with or against the music itself. Because of its design, Karmaflow deserves to be considered on its own. Additionally, outside the subgroup of “music-based games”, heavy metal music is an exception among video games. The present essay illustrates the specific concept of the game which indeed can be placed in a range between video games and rock operas. The insights gained through (self-) observation are compared with the results of an exploratory survey. The survey was aimed at revealing the influence of sound on the gaming experience. The majority of respondents confirmed the connection between music and gameplay and the effect of musical characterization on some specific decisions. Test subjects, who, due to their preferences, belonged to the target group of game developers, judged differently than the other experiment participants.
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Kharisma, Bethoven. "Analisis Komposisi Soundtrack dalam Video Game “Genshin Impact”." Indonesian Journal of Performing Arts Education 1, no. 2 (July 31, 2021): 12–15. http://dx.doi.org/10.24821/ijopaed.v1i2.5432.

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Role-playing games merupakan merupakan salah satu genre utama dari sebagian banyak game dan ada dalam bentuk dan format yang berbeda. Dalam sebuah game cenderung menggunakan musik cinematic yang mampu membawa suasana dan emosi kepada pemain game tersebut. Pemilihan soundtrack Genshin Impact pada “Main Theme: from The Wind and The Star Traveler” sebagai objek penelitian dikarenakan penataan musik cinematic yang megah. Penelitian kualitatif deskriptif ini memiliki tujuan untuk menganalisis teknik pengolahan komposisi dari soundtrack tersebut. Metode yang digunakan adalah studi diskografi, studi literatur, dan observasi. Hasil menunjukkan bahwa soundtrack “Main Theme” pada Genshin Impact dimainkan dakam tonalitas D Mayor dengan tempo 82 bpm. Dalam soundtrack Main Theme terdiri dari beberapa bagian yaitu, intro, verse, chorus, dan outro. Elemen musik pada soundtrack Main Theme juga diketahui berdasarkan ritme, dinamika, harmoni, tekstur, dan bentuk. Musik soundtrack tersebut mengandung suasana yang sederhana tapi megah dari penggunaan tonalitas mayor, poliritme, dan pengembangan motif utama yang memperkaya. Role-playing games are one of the main genres of many games and come in many different forms and formats. A game tends to use cinematic music that can bring atmosphere and emotions to the game's players. The selection of the Genshin Impact soundtrack on "Main Theme: from The Wind and The Star Traveler" as the object of research is due to the magnificent cinematic music arrangement. This descriptive qualitative study aims to analyze the compositional processing techniques of the soundtrack. The method used is discography study, literature study, and observation. The results show that the “Main Theme” soundtrack on Genshin Impact is played in a D Major tonality with a tempo of 82 bpm. The Main Theme soundtrack consists of several parts: intro, verse, chorus, and outro. The musical elements in the Main Theme soundtrack are also known based on rhythm, dynamics, harmony, texture, and form. The soundtrack's music contains a simple but majestic atmosphere of the enriching use of major tonality, polyrhythm, and development of central motifs.
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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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Firmansyah, Elang Hasbi. "œDragonflight Sebagai Musik Latar Video Game (Tinjauan Estetika)." Repertoar Journal 2, no. 1 (July 26, 2021): 117–25. http://dx.doi.org/10.26740/rj.v2n1.p117-125.

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œDragonflight adalah komposisi musik yang dimainkan dalam permainan daring œGuild Wars 2. Komposisi ini menjadi pengiring dalam puncak cerita œliving World Season 4, dimana tokoh utama berada pada puncak peperangan melawan naga kristal bernama œKralkatorrik. œDragonflight menyajikan komposisi musik yang megah, menegangkan, intens, dan epik ditengah kompleksitas suara atau audio dalam permainan. Keunikan karya ini berada pada karakter komposisi yang mendukung narasi cerita permainan (storytelling) tidak hanya dari pemilihan instrumentasi hingga teknik permainan namun juga mengangkat nilai estetis, historis, dan psikologis. Artikel ini membahas tentang elemen-elemen dalam komposisi musik œDragonflight yang diteliti dengan ilmu estetika sehingga dapat memberikan penjelasan dibalik pemilihan melodi, akor, ritmis, dan instrumentasi dalam komposisi tersebut. Peneliti menganalisis data tersebut dengan ilmu bentuk musik sebagai tinjauan pendukung dan ilmu estetika. Elemen musik yang diteliti dipilah berdasarkan penelitian relevan tentang video game music oleh Xavier Derrick Werlé, yaitu (1) penggunaan tonalitas minor; (2) big crescendo; (3) repetisi; (4) sequence; (5) instrumentasi perkusi, brass, choir; (6) sudden silence. Hasil dari penelitian ini adalah untuk memaparkan bagaimana estetika komposisi dapat mendukung pengalaman bermain. Kata Kunci: Video Game Music, Digital Music, Musik Permainan, Dragonflight
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Oliva, Costantino, and Ari Poutiainen. "Otogarden." Journal of Sound and Music in Games 3, no. 2-3 (2022): 28–58. http://dx.doi.org/10.1525/jsmg.2022.3.2-3.28.

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In this article we present ludomusicological research associated with the development of the video game Otogarden. Players of Otogarden are able to repeat short musical phrases through the use of a loop mechanic, juxtaposing sounds extemporaneously. By using the methodology of research through design, Otogarden addresses aesthetic and design issues related to musical participation in video games. Specifically, this article argues that video games, a contemporary venue for technologically augmented musicking, can allow access to novel forms of musical improvisation. In fact, while video games afford a remarkable variety of musicking, examples related to musical improvisation remain underexplored, with popular games favoring score-based interactions, as established by titles such as Guitar Hero or Rock Band. In similar examples, music is presented as a task to be completed, mediated by prerecorded compositions and simplified notations. Notable exceptions, such as the experimental game Electroplankton, have been criticized specifically for their lack of composition-oriented functionalities, seemingly neglecting the inherent value of improvisatory musical practices in video games. Otogarden challenges this understanding of a “music game” by focusing on the largely untapped potential of musical improvisation, “an activity of enormous complexity and sophistication, or the simplest and most direct expression.”1 In order to gain feedback on Otogarden’s special characteristics, we held a playtesting session with a sample of university students (N=21) with a special interest in music and music education. We collected research data from this session in the form of a survey. Analysis reveals different manifested perspectives, offering players novel creative opportunities. In addition, the game has surprising potential as a music-education tool. We conclude that it is possible to deliberately stimulate players’ perspective on the game in an improvisatory musical direction, making evident the extemporaneous musical possibilities connected with digital game engagement.
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Dissertations / Theses on the topic "Video game music"

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Crathorne, Pieter Jacobus. "Video game genres and their music." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4355.

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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.
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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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Summers, Timothy Richard David. "Video game music : history, form and genre." Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573894.

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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
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Kamp, Michiel. "Four ways of hearing video game music." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709001.

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Whalen, Zach. "Play along video game music as metaphor and metonymy /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0004911.

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Plank, Dana Marie. "Bodies in Play: Representations of Disability in 8- and 16-bit Video Game Soundscapes." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543506274730883.

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Kestner, Randolph. "The Impact and Creation of Level Music for Video Games." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/326.

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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.
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Smal, Pieter. "Constructing a model musical idiom for award-nominated video game soundtracks." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/59069.

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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
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Sweeney, Mark Richard. "The aesthetics of videogame music." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.

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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.
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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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Books on the topic "Video game music"

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Ivănescu, Andra. Popular Music in the Nostalgia Video Game. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04281-3.

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Lesser, Andrew John. Video game technology and learning in the music classroom. [New York, N.Y.?]: [publisher not identified], 2019.

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Playing along: Digital games, YouTube, and virtual performance. Oxford: Oxford University Press, 2012.

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Hannigan, James, and Tim Summers. Understanding Video Game Music. Cambridge University Press, 2016.

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Summers, Tim. Understanding Video Game Music. Cambridge University Press, 2018.

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Understanding Video Game Music. Cambridge University Press, 2016.

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Staff, Hal Leonard Corp. Greatest Video Game Music. Leonard Corporation, Hal, 2018.

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Staff, Hal Leonard Corp. Greatest Video Game Music. Leonard Corporation, Hal, 2018.

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Hannigan, James, and Tim Summers. Understanding Video Game Music. University of Cambridge ESOL Examinations, 2018.

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Staff, Hal Leonard Corp. Greatest Video Game Music. Leonard Corporation, Hal, 2018.

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Book chapters on the topic "Video game music"

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Fritsch, Melanie. "History of Video Game Music." In Music and Game, 11–40. Wiesbaden: Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_1.

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Paul, Leonard J. "Droppin’ Science: Video Game Audio Breakdown." In Music and Game, 63–80. Wiesbaden: Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_3.

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Rauscher, Andreas. "Scoring Play – Soundtracks and Video Game Genres." In Music and Game, 93–105. Wiesbaden: Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_5.

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Williams, Duncan. "Brain Computer Music Interfacing (BCMI)." In Emotion in Video Game Soundtracking, 51–63. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72272-6_6.

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Strank, Willem. "The Legacy of iMuse: Interactive Video Game Music in the 1990s." In Music and Game, 81–91. Wiesbaden: Springer Fachmedien Wiesbaden, 2012. http://dx.doi.org/10.1007/978-3-531-18913-0_4.

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Hooper, Giles. "Sounding the Story: Music in Videogame Cutscenes." In Emotion in Video Game Soundtracking, 115–41. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72272-6_10.

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Nickel, Vadim. "Generative Atmospheres." In Mental Health | Atmospheres | Video Games, 195–208. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-015.

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Playing computer games is an active pastime: players are presented with a dynamic game scenario that requires various inputs in order to engage with its core game loop. To do so, the player must constantly pay attention to the game while performing actions to propel gameplay. However, some games can be experienced over multiple levels of engagement. Such games feature levels of engagement that may not require the constant provision of input to offer a meaningful experience. In these games, atmosphere reveals itself as the underlying structure, intricate enough to be experienced in its own right. Ambient music, a term coined by musician Brian Eno, is a genre that is meant to allow for different levels of engagement. This may reach from ambient music being a background accompaniment in a given setting, to being the center of listener attention. This article will identify a type of game that can be perceived in a similar vein. Such a game offers ambient modes of experience: It allows to be experienced over varying levels of engagement and intensities of interactions. The term ambient game is relevant in this context since the music genre of the same name is referenced here. This article will present existing definitions of ambient games that identify parallels between the creation and perception of ambient music and various modes of experiencing digital games. Based on these findings, this article will propose three ambient modes of experience that represent the varying intensities of player interaction within the diegetic boundaries of games.
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Williams, Duncan. "Repurposing Music According to Individual Preferences for Personalized Soundtracks." In Emotion in Video Game Soundtracking, 105–14. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72272-6_9.

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Kirke, Alexis. "When the Soundtrack Is the Game: From Audio-Games to Gaming the Music." In Emotion in Video Game Soundtracking, 65–83. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72272-6_7.

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Grasso, Julianne. "Music in the Time of Video Games." In Music in the Role-Playing Game, 97–116. New York ; London : Routledge, 2019. | Series: Routledge music and screen media series: Routledge, 2019. http://dx.doi.org/10.4324/9781351253208-7.

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Conference papers on the topic "Video game music"

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Gasselseder, Hans-Peter. "Re-orchestrating Game Drama: The Immersive Experience of Dynamic Music in Video Games." In Electronic Visualisation and the Arts (EVA 2013). BCS Learning & Development, 2013. http://dx.doi.org/10.14236/ewic/eva2013.58.

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Bezerra, Daniel Filgueira, Filipe Calegario, Giordano Cabral, and Geber Ramalho. "MySoundtrack: a tool for personalized and adaptive music listening while playing games." In Anais Estendidos do Simpósio Brasileiro de Games e Entretenimento Digital. Sociedade Brasileira de Computação, 2021. http://dx.doi.org/10.5753/sbgames_estendido.2021.19663.

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Adaptive soundtrack design for video games is an ever-evolving field of study: games that modify its music depending on what is happening around and with the player. Meanwhile, independent game developers struggle with composition of soundtracks, and adaptive soundtrack tools are not accessible to them, mostly because of their complexity. This forces most of them to collage soundtracks with permissive licenses they find online. Besides, there is a growing habit of players to mute the game's original soundtrack to listen to their own songs. This paper introduces MySoundtrack, an asset for Unity that allows the player to keep playing while listening to Spotify songs, chosen according both to the player musical preferences and to the intended emotions on each moment in the game. We review existing approaches on adaptive soundtracks, explain how MySoundtrack's prototype works and its design choices, and discuss future plans for the tool. Validation so far indicates interest and curiosity by game developers and players, indicating the relevance of the proposed plug-in.
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Grollmisch, Sascha, Christian Dittmar, and Gabriel Gatzsche. "Concept, implementation and evaluation of an improvisation based music video game." In 2009 International IEEE Consumer Electronics Society's Games Innovations Conference (ICE-GIC 2009). IEEE, 2009. http://dx.doi.org/10.1109/icegic.2009.5293599.

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Adams, Joel C., and Andrew R. Webster. "What do students learn about programming from game, music video, and storytelling projects?" In the 43rd ACM technical symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2157136.2157319.

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Broderick, James, Jim Duggan, and Sam Redfern. "Using Auditory Display Techniques to Enhance Decision Making and Perceive Changing Environmental Data Within a 3D Virtual Game Environment." In The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.012.

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When it comes to understanding our environment, we use all our senses. Within the study and implementation of virtual environments and systems, huge advancements in the quality of visuals and graphics have been made, but when it comes to the audio in our environment, many people have been content with very basic sound information. Video games have strived towards powerful sound design, both for player immersion and information perception. Research exists showing how we can use audio sources and waypoints to navigate environments, and how we can perceive information from audio in our surroundings. This research explores using sonification of changing environmental data and environmental objects to improve user's perception of virtual spaces and navigation within simulated environments, with case studies looking at training and for remote operation of unmanned vehicles. This would also expand into how general awareness and perception of dynamic 3D environments can be improved. Our research is done using the Unity3D game engine to create a virtual environment, within which users navigate around water currents represented both visually and through sonification of their information using Csound, a C based programming language for sound and music creation.
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Waldner, Florian, Martin Zsifkovits, Lana Lauren, and Kurt Heidenberger. "Cross-Industry Innovation: The Transfer of a Service-Based Business Model from the Video Game Industry to the Music Industry." In 2011 International Conference on Emerging Intelligent Data and Web Technologies (EIDWT). IEEE, 2011. http://dx.doi.org/10.1109/eidwt.2011.30.

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Antonoaie, Cristina. "ASPECTS REGARDING ICT TRUST, SECURITY AND PRIVACY IN EU COUNTRIES." In eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-156.

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In today's world, using modern technology and especially the smartphone can ease a lot our work and other activities. But also the risk is very high. We can talk about several security concerns related to Internet usage. Many individuals are not aware of the threats that this usage is creating. Having installed an IT security software it is not mandatory for the moment, but it is more than necessary in protecting our personal information, documents, pictures and any other data. Security concerns already are limiting or preventing the individuals from ordering or buying goods or services from the Internet, or from carrying out internet banking, or from providing personal information to social or professional networking services, or from communicating with public services or administrations, downloading and submitting official forms, or from downloading software or apps, music, video files, games or other data files. The routine day-to-day activities on the Internet like sending or receiving e-mails, telephoning or video calls, posting messages to social media sites or instant messaging, participating in social networks, finding information about goods and services, reading or downloading online newspaper or news, downloading software, internet banking, travel and accommodation services, job search or sending an application, communication, finding different information that we don't' usually use or downloading /listening to/ watching / playing music, films and/or games it is something that people will always do. With the help of the data provided by EUROSTAT, we analyzed the main risks concerning ICT trust, security and privacy in EU Countries.
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Bott, Jared N., James G. Crowley, and Joseph J. LaViola. "Exploring 3D gestural interfaces for music creation in video games." In the 4th International Conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1536513.1536527.

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Akiba, Misato, and Wonseok Yang. "Learning to Read Music by Differences in Perception of Information." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001754.

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The development of information technology and devices has made it easier for everyone to take and share videos and photos, and many number of information has become available in the world. For example, when learning how to play a musical instrument, a game, or a household appliance, they can effectively understand it from videos and images on YouTube or Instagram, instead of reading an instruction manual or a reference book. Whereas the piano is difficult to practice efficiently because repetition and reading music are said to be the two most important elements needed to acquire the skill. Therefore, continuous practice is essential, but many people give up halfway. Focusing on reading music, we have to process multiple pieces of information on the score simultaneously in a short period of time while playing the piano. However, for beginners, it’s difficult to keep reading the necessary information from a score where information is concentrated in many symbols at the tempo of the performance. This research examines how to make it easier for beginners to recognize and remember information about music notation and how to use the information obtained more naturally. To this end, we clarified the process by which beginners learn and recognize information about musical notation in piano learning activities and clarified the characteristics that are expressed when they perform using the recognized knowledge.Firstly, we investigated whether learners would get support in an application whose purpose was to support reading practice. We found that the support could be categorized into three types, and that learning about pitch, rhythm, and keyboard position was important for beginners. To clarify the differences in these learning procedures depending on the level of proficiency, we conducted behavioral observations of beginners and experienced pianists practicing reading music, summarized their behavioral procedures into ordinal data, and conducted a Dematel analysis. As a result, we’re able to classify the level of proficiency into three levels: beginners (subjects with no piano experience), experienced (subjects with less than one year of piano study), and proficient (subjects with more than seven years of piano study). Based on the results of the questionnaire and interviews, we’re able to discover common issues such as beginners (1) not being able to practice smoothly because they couldn’t establish a procedure, (2) taking a long time to read the pitch of notes from the score, and (3) finding it difficult to read the rhythm from the score. From the above research, we examined new information display methods and innovations for the three types of information in music notation: pitch, rhythm, and sequence. In the case of pitch, it’s thought that information can be recognized efficiently by using the properties of color. For rhythm, we extracted information from the score and organized it in a new way, which reduced the error rate and led to more efficient practice. Also, with the information organized, even beginners were able to efficiently find the regularities and similarities in the score, which led to smooth read music.
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Marcos, German Ruiz. "An investigation on the automatic generation of music and its application into video games." In 2019 8th International Conference on Affective Computing and Intelligent Interaction Workshops and Demos (ACIIW). IEEE, 2019. http://dx.doi.org/10.1109/aciiw.2019.8925275.

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