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Journal articles on the topic 'Video game music'
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1
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.
Full textAbstract:
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.
Full textAbstract:
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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Michailowsky, Alexei. "Patsy Gallant and Video Games." Journal of Sound and Music in Games 3, no. 4 (2022): 29–47. http://dx.doi.org/10.1525/jsmg.2022.3.4.29.
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Canadian artist Patsy Gallant (born 1948), who achieved worldwide commercial success as a disco queen, released Take Another Look in 1984. The album tells the story of the “High Tech Girl,” a female cyborg character that serves as a metaphor for Patsy herself to address the imminent end of her marriage to musician Dwayne Ford through the album. For the first time in the singer’s discography, synthesizers and MIDI sequencers took a predominant role. Those new digital technologies inspired the construction of a futuristic piece where distinct elements such as the sleeve photos, the lyrics, the musical arrangements, and the final sound interacted with each other according to an unevenly organized concept. Sound effects and repeating short musical loops were created with the synthesizers to represent narrative elements through the tracks. This article combines interpretative studies, musical analysis, semiotics, and studies related to Patsy Gallant’s biography (as well as her accounts of the making of the album during interviews and conversations with the author) to investigate the intersections between Take Another Look and the background music presented in early home console games, as well as the overall influences of early video game music on the album. It takes into consideration some concepts featured in video game design and game audio literature, notably studies of game narrative, the function of audio elements on gameplay, and game semiotics. In the article, Take Another Look is highlighted as an innovative album where video games are important narrative and sonic references. The language of video games impacts the artistic concept of the record and the metaphors related to both the construction of Patsy Gallant’s musical persona and the music for the project.
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Freitas, Joana. "A (Silent) Game of Words." Journal of Sound and Music in Games 3, no. 1 (January 1, 2022): 50–59. http://dx.doi.org/10.1525/jsmg.2022.3.1.50.
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When Jeremy Soule, composer for some of the most well-known video game franchises in the world such as Guild Wars and The Elder Scrolls, was accused of sexual misconduct by women in the gaming industry in 2019, the internet hosted reactions from several fronts. From questioning the victims’ credibility to taking a neutral position while waiting for further development, gamers and fans made use of digital platforms to express either concern, astonishment, or doubt; these reactions point to the significant symbolic capital that Soule possesses in the context of video game music. The Elder Scrolls franchise, and in particular Skyrim, is highly recognized for its soundtracks, and this franchise has given rise to the largest mods community to date. In previous research, I examined this mods community in order to consider music and sound in relation to immersion and modification in Elder Scrolls games. Since the data collected in that earlier research was limited to a time span until 2017, the recent developments concerning composer Jeremy Soule weren’t addressed in that earlier setting. However, these allegations were part of a larger phenomenon of awareness and public exposure of negative and abusive practices in several labor contexts in the video game industry, shedding some light on a much-needed discussion about sexism and mistreatment toward women and nonbinary professionals in these fields and raising some pertinent questions concerning users’ feedback and engagement. This article aims to discuss the possible impacts these accusations had on the relationship between Soule’s music and users in the mods community, including users’ overviews of their own personal affective engagement with the games, thus verifying the deep connection between music, interactivity, authorship and gamer identity.
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Torge Claussen, Jan. "Gaming Musical Instruments." Digital Culture & Society 5, no. 2 (December 1, 2019): 121–30. http://dx.doi.org/10.14361/dcs-2019-0208.
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Abstract This article addresses the relationship between labour and learning a popular musical instrument like the guitar in the specific context of a video game. Most gamification theories promise that using a video game makes it easy to learn (Kapp 2012; Deterding et al. 2011). Even if this holds true, I argue that this kind of playfulness causes some backlash, which I observed during an experiment in which students played the music video game Rocksmith 2014. Learning and playing the guitar through the medium of a video game comes with diverse experiences as well as expectations that are closely related to the dichotomies between play and work, often discussed in game studies based on the famous texts by Johann Huizinga (2004) and Roger Caillois (1960). Learning any traditional music instrument requires much effort in several skill areas, for example, dexterity, hearing, sight-reading, and performance. In other words, it seems to be hard work and not at all playful like a video game. In this article, the various aspects of playful work and labourious play, found in both music education and guitar games, will be discussed against the backdrop of empirical findings including data from online interviews, research diaries and video recordings.
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Lesser, Andrew J. "An Investigation of Digital Game-Based Learning Software in the Elementary General Music Classroom." Journal of Sound and Music in Games 1, no. 2 (2020): 1–24. http://dx.doi.org/10.1525/jsmg.2020.1.2.1.
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Game-based learning, or the process of adapting an educational concept into a game-based structure, has been studied by researchers for nearly a century. Over the last several decades, new technologies have allowed digital media to create a multibillion-dollar entertainment industry commonly known as video games. Video games have become a tool for many educators who have the potential to engage students to learn musical concepts and skills. The purpose of this study was to determine the effectiveness of digital game-based learning in comparison to other teaching methods for music education and to explore the perspectives of young students regarding video games both in school and in their personal lives. Eighty-two (n = 82) fifth- and sixth-grade students in a northeastern U.S. elementary school completed a study consisting of a pretest/posttest control group design. Results showed that students who had access to educational video games combined with the assistance of an instructor achieved higher mean scores than students who had access to either video games without instruction or instruction without video games. These findings suggested that educational video games may potentially be used as an effective tool in the music classroom to teach musical concepts and skills.
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Guessford, Jesse. "Ludomusicology: Approaches to Video Game Music." Music Reference Services Quarterly 20, no. 3-4 (October 2, 2017): 240–41. http://dx.doi.org/10.1080/10588167.2017.1377544.
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Davies, John J., and Timothy J. Hemingway. "Guitar Hero or Zero?" Journal of Media Psychology 26, no. 4 (January 1, 2014): 189–201. http://dx.doi.org/10.1027/1864-1105/a000125.
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Motivations for, and outcomes of, playing rhythm-based music video games have had little direct study. The current research showed that fantasy-seeking motivations combined with self-esteem to create either unregulated game play habits or an incentive to play a musical instrument in real life. We obtained measures from adult players of rhythm-based music video games (N = 421), regarding their gaming habits, fantasy-seeking motivations, and self-esteem. Regression analyses showed that the interaction of low self-esteem with high fantasy-seeking motivation predicted unregulated game play. Self-esteem was negatively related to habitual and solitary game play. Fantasy-seeking motivations positively predicted a player’s desire to learn or play a musical instrument in real life. These results suggest that fantasy-seeking motivations reflect escapism under certain conditions and a desire to develop game-related skills in real life under other conditions. We discuss potential educational benefits of fantasy seeking and the implications for theory and scholarship regarding video game motivations.
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Попов, Даниил. "Adaptive Music in Video Games." Музыкальная академия, no. 3(779) (September 26, 2022): 124–37. http://dx.doi.org/10.34690/257.
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Музыкальное оформление видеоигр сегодня можно оценивать как феномен, полностью обособленный в самостоятельный жанр. Адаптивная музыка - разновидность игрового саундтрека, ключевой особенностью которой является адаптация звукового сопровождения к тем или иным ситуациям, вызванным действиями игрока. Следует с осторожностью говорить о том, что глубокие теоретические исследования феномена адаптивного саундтрека в настоящий момент отсутствуют и существует проблема его недостаточной изученности в контексте музыкальной теории. Выбор темы обусловлен представлением о рядоположности адаптивной игровой музыки с алеаторными формами. Поскольку классификация техник адаптивного саундтрека на сегодняшний день уже определена и описана в ряде источников, в данной работе будет предпринята попытка дополнить ее соотнесением с существующими классификациями алеаторных форм. The musical design of video games today can be assessed as a phenomenon completely isolated into an independent genre. Adaptive music is a kind of game soundtrack, the key feature of which is the adaptation of the soundtrack to certain situations caused by the actions of the player. We can say with caution that deep theoretical studies of the phenomenon of adaptive soundtrack are currently lacking, and there is a problem of its insufficient study in the context of musical theory. The choice of the theme is due to the idea of the sequence of adaptive game music with aleatory forms. Since the classification of adaptive soundtrack techniques has already been defined and described in a number of sources, an attempt will be made in this paper to supplement it by correlating it with existing classifications of aleatory forms.
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Novitasari, Selvia, Suhendar Sulaeman, and Nyimas Heny Purwati. "Pengaruh Terapi Musik dan Terapi Video Game terhadap Tingkat Nyeri Anak Usia Prasekolah yang Dilakukan Pemasangan Infus." Journal of Telenursing (JOTING) 1, no. 1 (May 14, 2019): 168–77. http://dx.doi.org/10.31539/joting.v1i1.510.
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The purpose of this study was to determine the differences in the average level of pain in preschoolers who were infused after being given music therapy and video game therapy at Bhayangkara TK III Hospital in Bengkulu city. This research is a quantitative study. This type of research is quasy experimental research with post test only control group approach, which is a study that did not take measurements before intervention. Measurements were only carried out after intervention, with 24 respondents taken in 2 groups, namely music therapy. and video game therapy. Data collection instruments used to measure pain with wong baker face pain rating scale. Data analysis using t-test The results of the study were that there were significant differences in the level of pain in preschoolers who were infused before and after being given music therapy and video game therapy. It is expected that nurses will apply music therapy and video game therapy as a technique for transferring pain to children.
Keywords: Preschool, Video Game, Music, Pain Level.
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Hatch, Emily. "Music for a Boss Fight: Creating for the Context of Video Game Worlds." Journal of General Music Education 35, no. 2 (December 7, 2021): 47–51. http://dx.doi.org/10.1177/27527646211061498.
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Creating music increases student engagement, and drawing on students’ background knowledge is a respectful way to value students’ lived experiences. By challenging students to create music for the context of a video game world, teachers can build on students’ previous knowledge and bridge that knowledge to the elements of music and creating music for specific contexts and purposes. This column outlines a project for fourth graders to create video game music for specific contexts within the game.
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Délécraz, Cyril. "Scoring the Original Soundtrack of an Escape Room." Journal of Sound and Music in Games 4, no. 1 (January 1, 2023): 26–71. http://dx.doi.org/10.1525/jsmg.2023.4.1.26.
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Through the example of Nobody – Vis et ressens (Nice, France, 2021), this article sheds light on the musical creation process involved in the conception of an automatized escape room, where participants experience a multimodal experience (sound, light, scenery, video) driven by an original scenario. As the composer, sound designer, and computer music designer, I propose to study Nobody as a playful game. I show how current ludomusicology insights can be used and adapted to a game that is played in a physical space. After first exposing considerations of both technical and aesthetic aspects, I explain the artistic choices made for creating the soundtrack of six interactive puzzles. Through practice-led research of these different mini music games, I analyze how the influence of electronic dance music (EDM) and related club culture are melded together into the development of the plot and its retro-futuristic theme. I show how constraints forced me to adapt the audio content yet also opened a wide range of musical possibilities. The analysis helps clarify how what I call “game music” differs from “background music”. Moreover, the discussion highlights compositional issues that are similar to video game music-making and shows that escape rooms need to be studied further within the field of ludomusicology. Although some of the analytical tools remain valid because of their technical aspect (transition types, typology of music games, transition speed quantization) or their theoretical aspects (ALI model, branching-layering concept, triple lock of synchronization), traditional concepts such as “immersion” or “game feel” need to be questioned for escape room games, as that type of game takes place in a physical space.
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d’Escriván, Julio, and Nick Collins. "Musical Goals, Graphical Lure and Narrative Drive: VisualAudio in Games." Journal of Visual Culture 10, no. 2 (August 2011): 238–46. http://dx.doi.org/10.1177/1470412911402896.
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Musical computer games and their reward structures are transforming solitary and participative music making. Visuals in musical games tend to assume the role of music in video games as they become incidental to the gameplay or provide graphical aid for musical decision making. Constrained manifestations of musical skill in game software simulations point towards the development of real world musical skills. Yet, arguably, no video game so far developed requires the kind of sophisticated expression that a musician hones by training. The time-scale for mastery is an order of magnitude greater in traditional musical instruments and teaching, but we may be at the dawn of a new audiovisual musical learning paradigm.
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Pasinski, Amanda C., Erin E. Hannon, and Joel S. Snyder. "How musical are music video game players?" Psychonomic Bulletin & Review 23, no. 5 (January 5, 2016): 1553–58. http://dx.doi.org/10.3758/s13423-015-0998-x.
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Cook, Karen M. "Medievalism and emotions in video game music." postmedieval 10, no. 4 (December 2019): 482–97. http://dx.doi.org/10.1057/s41280-019-00141-z.
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Quijano-Cruz, Johansen. "Chopin's Dream as Reality: A Critical Reading of Eternal Sonata." Eludamos: Journal for Computer Game Culture 3, no. 2 (October 26, 2009): 209–18. http://dx.doi.org/10.7557/23.6006.
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This article opens with a short statement on how video games should be considered as a viable means of making cultural and social statements and compares the evolution of literature to the evolution of video game narratives. After making an argument for Eternal Sonata as meaningful art worthy of critical attention it proceeds to give a critical reading of the game which presents Eternal Sonata as an instrument critical of specific aspects of society, including war, human greed, and the interests of large companies. The article integrates video game and critical theory, professional commentary, excerpts from the game, and examples of poetry, music, and painting to support the arguments presented.
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Collins, Karen. "Game Sound." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 100–102. http://dx.doi.org/10.1525/jsmg.2020.1.1.100.
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Widiandari, Arsi. "Perkembangan dan Globalisasi Video Game Jepang." KIRYOKU 3, no. 2 (June 24, 2019): 71. http://dx.doi.org/10.14710/kiryoku.v3i2.71-76.
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(Title: Development and globalization Japanese Video Game ) Today, many Japanese cultural product are developing and become popular in the community, for example Japanese music, movie, anime and video game. Japanese creative industry has a big potential in economy sector and can not be underestimated. One of Japanese culture product that become popular is Japanese video game it self. Video game are considered as the pioneers of the modern game industry. This paper will discuss the development and dissemination of Japanese video game with the viewpoint of globalization.
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Méndez González, Ramón. "Specialized Terminology in the Video Game Industry: Neologisms and their Translation." Vertimo studijos 12 (December 20, 2019): 71–86. http://dx.doi.org/10.15388/vertstud.2019.5.
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The video game industry is growing at a very fast pace. At present, it is the biggest entertainment industry in the world, selling even more than film and music industries. Newly-developed technologies provide video game creators with the necessary tools to develop more complex game worlds, and user interaction is more important than ever. Each one has its own terminology and complexities, which must be perfectly understood in order to deliver high-quality work. Therefore, translators must be deeply aware of how all these technologies and game worlds work. More importantly, they need to be familiar with the specialized terminology they are going to come across while working in the video game industry. This paper is part of a series of studies where a corpus of 300 games is used to analyze the terminology needs of video game translation and interpreting. Specifically, this paper focuses on the relevance of neologisms—as they are one of the basic traits that define a specialized language—and defines the type of neologisms that can be found when localizing a video game with the overall goal of proving that they are common in the video game industry.
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Gibson, Dylan Lawrence. "Mechanical and artificial ‘nü-horror metal’: The film music of Resident Evil." Metal Music Studies 8, no. 1 (March 1, 2022): 87–108. http://dx.doi.org/10.1386/mms_00062_1.
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Remaining true to its origins, the survival-horror video game film adaption, Resident Evil: The Original Motion Picture released in 2002, retains its core foundational game-like qualities. The film is heavily influenced by the video game franchise and it appears as if the audience is treated the same as the player. This is because the viewers are forced to ‘participate’ from fixed camera angles. As expected, the music contained within the moving image also borrows well-established compositional techniques from horror films and survival-horror video games. The music, therefore, serves to provide information to the viewers and acts as an auditory trigger. This type of music is defined as ‘process music’; music that appears to imitate a process of actions. An additional function of the music is to create immersion. The most prominent soundtrack cues from the film, visually and musically (‘synchronically’ matched), hint at overarching medical, artificial and mechanical themes. This immersive link is achieved through the use of the related music genres of industrial metal and nü-metal. The resultant combination of industrial/nü-metal sounds with horror imagery can effectively be termed ‘nü-horror metal’. In this article the genre label of ‘nü’ takes preference over ‘industrial’. The focus of this article will, therefore, demonstrate how the aforementioned medical, artificial and mechanical themes are effectively portrayed and heightened by the use of industrial/nü-metal music and techniques. This article will also highlight when the music serves a process function. This will be approached by appealing to traditional film music analytical tools engaging specifically with the traditional film music theory of ‘synchrony’ and ‘asynchrony’.
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Adamo, Kristi B., Jane A. Rutherford, and Gary S. Goldfield. "Effects of interactive video game cycling on overweight and obese adolescent health." Applied Physiology, Nutrition, and Metabolism 35, no. 6 (December 2010): 805–15. http://dx.doi.org/10.1139/h10-078.
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The purpose of this study was to examine the efficacy of interactive video game stationary cycling (GameBike) in comparison with stationary cycling to music on adherence, energy expenditure measures, submaximal aerobic fitness, body composition, and cardiovascular disease risk markers in overweight and obese adolescents, using a randomized controlled trial design. Thirty overweight (with at least 1 metabolic complication) or obese adolescents aged 12–17 years were stratified by gender and randomized to video game or music condition, with 4 participants (2 per group) failing to complete the twice weekly 60 min sessions of the 10-week trial. The music group had a higher rate of attendance compared with the video game group (92% vs. 86%, p < 0.05). Time spent in minutes per session at vigorous intensity (80%–100% of predicted peak heart rate) (24.9 ± 20 min vs. 13.7 ± 12.8 min, p < 0.05) and average distance (km) pedaled per session (12.5 ± 2.8 km vs. 10.2 ± 2.2 km, p < 0.05) also favoured the music group. However, both interventions produced significant improvements in submaximal indicators of aerobic fitness as measured by a graded cycle ergometer protocol. Also, when collapsed, the exercise modalities reduced body fat percentage and total cholesterol. The present study indicates that cycling to music was just as effective as stationary cycling while playing video games at improving fitness, body composition, and cholesterol profiles in overweight and obese teens, and resulted in increased attendance, vigorous intensity of physical activity, and distance pedaled. Therefore, our data support the superiority of cycling to music and indicate investing in the more expensive GameBike may not be worth the cost.
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Jenson, Jen, Suzanne De Castell, Rachel Muehrer, and Milena Droumeva. "So you think you can play: An exploratory study of music video games." Journal of Music, Technology and Education 9, no. 3 (December 1, 2016): 273–88. http://dx.doi.org/10.1386/jmte.9.3.273_1.
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Digital music technologies have evolved by leaps and bounds over the last 10 years. The most popular digital music games allow gamers to experience the performativity of music, long before they have the requisite knowledge and skills, by playing with instrument-shaped controllers (e.g. Guitar Hero, Rock Band, Sing Star, Wii Music), while others involve plugging conventional electric guitars into a game console to learn musical technique through gameplay (e.g. Rocksmith). Many of these digital music environments claim to have educative potential, and some are actually used in music classrooms. This article discusses the findings from a pilot study to explore what high school age students could gain in terms of musical knowledge, skill and understanding from these games. We found students improved from pre- to post-assessment in different areas of musicianship after playing Sing Party, Wii Music and Rocksmith, as well as a variety of games on the iPad.
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Gintere, Ieva. "Signal and Video Processing: Developing the Noise Music Trend in Digital Edugaming." International Journal of Circuits, Systems and Signal Processing 14 (January 18, 2021): 1176–80. http://dx.doi.org/10.46300/9106.2020.14.145.
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In digital educational gaming, there are presently no games devoted to the trends of contemporary music. Also, there are no studies of noise-related sound in contemporary gaming discourse, yet noise is presently one of the most current trends in the arthouse world. The author of this study is carrying out a post-doctoral research into contemporary audio-visual art and digital game theory. Next to the other trends of modern gaming, the study incorporates analysis of noise-related artefacts that are of particular interest to the author taking into account her musicological education. The author intends to transfer knowledge gathered in the research process to the general public with an aim to facilitate the comprehension of noise music. Noise-related sound does not belong to the traditional system of musical expression thereof it requires an explanation and justification in order to be well apprehended. It has been explained in the literature of musicology, but serious gaming would help to disseminate these results and thus support intellectual education. The new experimental game Art Space explores the noise effect in order to deepen the understanding of this fuzzy area of contemporary culture. The game incorporates the historical background of noise music and its contemporary examples in the academic and alternative genres. The methods used in this study are literature analysis (theory of gaming and musicology), analyses of game sound scores and music examples. The mission of the research project and the innovative game Art Space is to pave the way to a new type of edugame that supports the documentation and analysis of aesthetical trends today.
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Ulyanova, Snezhana Yu. "Sound and Music in Video Games: Relevant Issues." IKONI / ICONI, no. 1 (2022): 100–109. http://dx.doi.org/10.33779/2658-4824.2022.1.100-109.
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The article examines the main current issues of sound and, in particular, soundtrack in the modern video games. The immense popularity of this new genre layer of modern musical culture deserves serious scholarly understanding. So the author names and highlights such important issues as the general characteristic features of sound image of video games, diverse sounds and original musical compositions. The music for the game is presently being written by such famous composers as Hans Zimmer, Jeremy Soul, Harry Gregson-Williams, Akira Yamaoka, and Jesper Kyd. Recently, music in video games has become more in demand by a wide audience than movie music, due to its artistic merit and capabilities. The observation of the functions of music in video games seems to be relevant to the author — their system with various links to well-known products is described in the article. Moreover, the most important issue of the theoretical, aesthetic characteristic features of composers’ original music, which is practically not touched upon in modern literature in Russia and in other countries, is also posed and briefly highlighted. To illustrate such a formulation of the question, various opinions about the musical language, style and stylistic features are presented by the illustrative example of the American composer Paul Anthony Romero. Certain important positions have been made about the entirely new format of composing technique — the use of special network libraries.
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Fernández-Cortés, Juan Pablo. "Ludomusicology." Journal of Sound and Music in Games 2, no. 4 (2021): 13–35. http://dx.doi.org/10.1525/jsmg.2021.2.4.13.
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In the past two decades, the study of video game music has come into its own and gained acceptance in the academic community. This subdiscipline, now commonly referred as ludomusicology, is still attempting basic questions concerning how it can be researched. This article aims to present the current situation and to reflect about some of the main lines of research related to the music of video games and their culture, a field of ongoing research that has received little attention in Hispanophone academia up to the present time. This article was originally published in Anuario Musical 75 (2020): 181–99 and has been translated for the Journal of Sound and Music in Games. https://doi.org/10.3989/anuariomusical.2020.75.09
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Serhiieva, Oksana, Nadiia Broiako, Veronika Dorofieieva, Tetiana Kaplun, Ihor Shcherbak, and Oksana Gorozhankina. "Category of the Epic as a Part of the Theoretical Paradigm of Contemporary Musicology." Postmodern Openings 13, no. 1 (January 31, 2022): 351–62. http://dx.doi.org/10.18662/po/13.1/400.
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The article is devoted to the question of the categories of the epic as part of the theoretical paradigm of contemporary musicology. It is proven that nowadays there are many books, magazines and articles about the epic genre of music. The concept of a soundtrack that appeared in the 1950s is highlighted of XX century. The compilation of songs “Carmina Burana”, which became the reason for the appearance of the music for the trailers was investigated. It has been established that since the 90s of the XX century, the first companies that were engaged in the creation of music for trailers began to appear - “Globus” and “Inmediate Music”. It is determined that the first studio album of the group “Globus” was “Epicon”. It is noted that video games belong to epic music. It has been studied that epic soundtracks are most often used in video games with the plot of war, confrontation and battles. It is noted that Jeremy Soule, who gained fame thanks to the game series “Elder Scrolls” and “Harry Potter” is the most famous composer of orchestral music video games. The importance of music is emphasized for the video games of the famous American composer Garry Schyman. Emphasis is placed on the talented works of German instrumentalist Hans Zimmer. It is noted that the music is epic and cinematic. Samples of the musical epic of Ukrainian composers are highlighted. Explored Japanese anime style animation. Revealed that talented artists receive the MTV Video Music Awards every year.
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Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Can Competitive Digital Games Support Real-Time Music Creation?" Journal of Sound and Music in Games 3, no. 1 (January 1, 2022): 1–35. http://dx.doi.org/10.1525/jsmg.2022.3.1.1.
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This article presents practice-based research exploring the interplay of real-time music creation and competitive gameplay. Musically creative video games, apps, and sound art are first surveyed to highlight their characteristic avoidance of competitive game elements. The relationship between play, games, and musical activity is then examined with reference to theoretical perspectives from ludomusicology and game studies, revealing a series of mechanical and aesthetic design tensions emerging between competitive gameplay and music creation. Two original music games are presented to explore this interplay across contrasting design approaches: EvoMusic engenders an abstract competitive dialogue between the player and system for authorial control, while Idea presents a more explicit ludic framework with goals, progression, danger, and victory. The games are evaluated in a comparative user study to capture the player experience of composing within competitive game settings. Participant responses revealed conflicting expectations for ludic and compositional experiences. Idea was the preferred game, yet its strong ludic elements distracted from or disincentivized music creation; EvoMusic offered more focused music creation yet also a weaker gameplay experience for lacking these same competitive elements. This relationship reflects the theoretical design tensions suggested by ludomusical scholarship. Further, a majority of participants characterized EvoMusic as being simultaneously competitive and creatively stimulating. The implication is that competitive games can support music creation for certain players, though it remains challenging to satisfy expectations for both within any one system. Design recommendations are drawn from these insights, and the potential for future research into creative music games is discussed.
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Yudhanto, Sigied Himawan. "Konteks Persepsi Transcultural Dalam 10 Judul Video Game Di Indonesia." GESTALT 4, no. 1 (June 6, 2022): 57–68. http://dx.doi.org/10.33005/gestalt.v4i1.110.
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Kajian ini membahas tentang 10 judul video game buatan studio lokal yang terdapat di platform Steam. Ke-10 game menunjukan eksistensi industri game di Indonesia yang mulai menggeliat. Akan tetapi data yang dihimpun dari Deputi Bidang Ekonomi Digital dan Produk Kreatif Kemenparekraf 90 persen (dari game) yang dimainkan gamer lokal masih berupa game impor, dan persentase hasil penjualan developer lokal masih didominasi oleh penjualan yang berasal dari luar negeri sehingga beberapa IP dari produk lokal tersebut belum bisa menjadi bintang di rumah sendiri, developer-developer seperti Digital Happiness, Mojiken, Toge Production, dan Agate tersebut pun mengetahui dan paham dengan kondisi tersebut sehingga game-game tersebut dirancang penuh agar sesuai dengan selera global tapi dengan sentuhan elemen-elemen lokal sehingga game tersebut merupakan produk hasil dari transcultural karena di kembangkan dengan menggunakan refrerensi dari judul-judul game internasional untuk kemudian dilakukan duplikasi formul duplikasi tersebut mayoritas dari pengembang game Jepang.
Kajian ini meng-analisis persepsi dari “ formula “ tersebut kenapa video game lokal lebih bisa diterima di pasar global lewat Steam. Kajian dengan menggunakan data display yang di kembangkan dalam format tabel yang di komparasi dengan 10 judul game Jepang dengan pendekatan 6 komponen video game yaitu game world, game storyline, characters for video game, music, visuals, quality assurance untuk di lihat seberapa jauh kesamaan antara game Indonesia dan game Jepang yang sudah lahir terlebih dahulu untuk kemudian di narasikan dengan aspek transcultural untuk di tarik kesimpulan. hasil perpaduan keduanya itulah yang akan menjadi konteks kajian dalam video game Indonesia hasil developer lokal.
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Moritzen, Karina. "Opening Up Virtual Mosh Pits." Journal of Sound and Music in Games 3, no. 2-3 (2022): 115–40. http://dx.doi.org/10.1525/jsmg.2022.3.2-3.115.
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This article investigates the sociabilities that surround in-game concerts and music scenes in the massively multiplayer online games Fortnite and Minecraft. Drawing on ludomusicology and cultural studies, it will rethink the virtual music scene concept to better incorporate the technical, economical, aesthetic, and social aspects that affect how relationships are developed inside MMOs among members for whom music and games play a primordial role in their personal life-worlds. Focusing on Travis Scott’s Astronomical performance in Fortnite sponsored by the video game and music industries, as well as the independent music festivals in Minecraft organized by volunteer-run virtual events producer Open Pit, allows for comparisons that are valuable in highlighting the characteristics that define a virtual music scene and differentiate it from an in-game concert. In order to conduct such a task, this essay will analyze Scott’s Astronomical performance currently hosted on YouTube while also considering statements made by the rapper in his 2019 Netflix documentary Travis Scott: Look Mom, I Can Fly and magazine interviews with the rapper and the team responsible for this event. In order to understand Open Pit’s festivals, several interviews with its members available online, as well as excursions undertaken by journalists to these events, will be investigated, providing an immersive account of what attending an Open Pit music festival can feel like from their perspectives. In the end, the article argues that as much as Scott’s performance changed what can be expected of in-game concerts by joining game and music aesthetics, Open Pit’s periodic events and their connection to the hyperpop music genre are a better representation of the virtual music scene concept developed in this article.
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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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Van Elferen, Isabella. "Ludomusicology and the New Drastic." Journal of Sound and Music in Games 1, no. 1 (January 1, 2020): 103–12. http://dx.doi.org/10.1525/jsmg.2020.1.1.103.
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In a rereading of Carolyn Abbate's seminal article “Music—Drastic or Gnostic?” this article proposes that the study of game music not only presents us with new research themes but, moreover, has the potential to inspire a major disciplinary reform. Game music studies and ludomusicology can lead to a New Drastic Musicology: an intellectual engagement with video game music that is just as rooted in immediacy, interactivity, and playfulness as the object with which it concerns itself. The New Drastic, I shall argue, can engender significant critical, epistemological, thematic, and analytical innovations in the discipline of musicology. Fundamentally, my argument is that playing with music invites “playing” with critical music theory.
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Klimmt, Christoph, Daniel Possler, Nicolas May, Hendrik Auge, Louisa Wanjek, and Anna-Lena Wolf. "Effects of soundtrack music on the video game experience." Media Psychology 22, no. 5 (August 20, 2018): 689–713. http://dx.doi.org/10.1080/15213269.2018.1507827.
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Russworm, TreaAndrea M., and Samantha Blackmon. "Replaying Video Game History as a Mixtape of Black Feminist Thought." Feminist Media Histories 6, no. 1 (January 1, 2020): 93–118. http://dx.doi.org/10.1525/fmh.2020.6.1.93.
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This article, a Black feminist mixtape, blends music, interviews, and critical analysis in order to demonstrate some of the ways in which Black women have impactfully engaged with the video game industry. Organized as musical “tracks,” it uses lyrics by Black women performers as a critical and cultural frame for understanding some of the work Black women have done with video games. In prioritizing the personal as not only political but also instructive for how we might think about digital media histories and feminism, each mixtape track focuses on Black women's lived experiences with games. As it argues throughout, Black feminism as defined and experienced by the Combahee River Collective of the 1970s has been an active and meaningful part of Black women's labor and play practices with video games.
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Fritsch, Melanie, and Hillegonda C. Rietveld. "Editorial Introduction." Journal of Sound and Music in Games 4, no. 1 (January 1, 2023): 1–8. http://dx.doi.org/10.1525/jsmg.2023.4.1.1.
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The issue’s guest editors provide an overview of the intersections between video game music and electronic dance music in their cultural contexts, situating the issue’s articles within this landscape.
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Pilkevych, Andrii. "US popular culture in the mirror of video game industry conventions." Ethnic History of European Nations, no. 64 (2021): 97–101. http://dx.doi.org/10.17721/2518-1270.2021.64.13.
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Video game culture is one of the most dynamically developed forms of modern popular culture. Over the past 10 years, the number of communities that represent certain areas has grown rapidly. Being in direct connection with film industry, literature and music the video game culture has occupied a new segment that requires detailed research. New opportunities of online communication have transformed the traditional understanding of gaming culture. Social segment identifies as gamers. This kind of culture can be used to spread a social message using human interactions. It should be noted that in a comprehensive sense, this problem covers the interaction with computer and algorithm art, artmedia, demoscene, cybernetic and digital art, evolutionary and generative art, new media, systems art and other areas which are represented in PC, VR, Console, Handheld, Tabletop. Communities of gamers, as well as game developers have created and promoting quite recognizable festivals and conventions which are described in this article. Games and game-related merchandise by Sony Interactive Entertainment – PlayStation Experience; BlizzCon by Blizzard Entertainment with their major franchises: Overwatch, Warcraft, StarCraft, Heroes of the Storm et al; general video gaming and video game streaming – TwitchCon convention; RTX conventions by Rooster Teeth; Penny Arcade Expo as gaming culture festivals with their PAX Arena, LAN Party, eSports tournament and Omegathon. This article does not describe the US comic con conventions that carry much more content than the focus on video games, such as San Diego Comic-Con International, New York Comic Con et al. Gamers have developed specific communication languages and rituals, they spread their culture on gaming conventions and discussion websites that create a distinct virtual space. An important part of video game culture is the activity of gamers on YouTube, gaming channels are very popular, this is confirmed by millions of subscribers. Post-dynamic structure of changes was formed in all streams of public life during the growth of the pandemic. COVID-19 is accelerating existing trends and indicate future transformations in the video game industry.
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Simatupang, Nurhenti Dorlina, Wulan Patria Saroinsong, Resi Rosalianisa, Kartika Rinakit Adhe, Sri Widayati, and Intan Kurnianingtyas. "Music Enhancing Young Learner’s Creativity." International Journal of Multicultural and Multireligious Understanding 8, no. 8 (August 15, 2021): 189. http://dx.doi.org/10.18415/ijmmu.v8i8.2880.
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This research emphasizes on elaborating the feasibility of the media of the bandwagon educational game on the creativity of children aged 5-6 years. To obtain the research objectives, this researcher conducted research and development using the 4D model developed by Thiagarajan, namely define, design, develop and disseminate. The subjects in this research trial were five children aged 5-6 years and 30 ECE teachers. The data collection instrument used a structured interview technique and an online questionnaire through a google form accompanied by a video of the implementation of the bandwagon educational game. The data analysis technique used quantitative and qualitative descriptive analysis. From this research, it shows that the development of the bandwagon educational game tool that has been tested on a small scale is valid and feasible. This shows that this bandwagon game is effective and can be applied and has an appeal for early childhood in learning.
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Stingel-Voigt, Yvonne. "Functions and Meanings of Vocal Sound in Video Games." Journal of Sound and Music in Games 1, no. 2 (2020): 25–43. http://dx.doi.org/10.1525/jsmg.2020.1.2.25.
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The following article gives a short overview of some functions of vocal sounds in video games. The sound of voices contributes to the realization of fictitious game worlds, since it makes the fictitious world appear significantly more real. I briefly cover the atmospheric and emotional function of the sound of voices as well as how they are utilized in video games for supporting characters. In lieu of discussing dialogues and linguistically conveyed information, I focus on the sound of voices and their influence in generating feelings and moods, and thus how they contribute to a deepening of the immersion of the player. These considerations are based on Michel Chion's concept that sound may have an added value—the recipient assigns a special meaning to a sound, which enriches the audiovisual experience. For this purpose, I analyze a number of games in short case studies in regard to their utilization of vocal sounds with added value. The research is further contextualized through Karen Collins's concept of embodied cognition, as discussed in her seminal work Playing with Sound: A Theory of Interacting with Sound and Music in Video Games and “Making Gamers Cry: Mirror Neurons and Embodied Interaction with Game Sound.”
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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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Farmaki, Despoina. "Copyright protection of video games: a comparative study." Interactive Entertainment Law Review 5, no. 2 (December 30, 2022): 107–21. http://dx.doi.org/10.4337/ielr.2022.02.04.
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Abstract The legal nature of video games in terms of copyright is hard to determine. Video games are highly interactive multimedia that are made up of individual elements that are the ‘product’ of creative effort and expertise. Video games are also complex multimedia works that combine video, music, art and characters. There is a debate on which work is qualified to be copyright protected: is it the video game as a whole or the individual elements of it? To question further, under which category of protected works should they be classified? This article will shed light on the above considerations by employing a combination of doctrinal and comparative analyses. European and national legislation and case law will be analysed, with particular emphasis on four national jurisdictions: Germany, France, Greece and the UK. The article discusses the divergent opinions among academics, national and European case law, and will suggest that copyright registration of video games would provide more clarity.
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Sudirman, Dodick Zulaimi, and Wayan Suparta. "A Preliminary Survey of Game Developer’s Perception on Game Clone." Journal of Games, Game Art, and Gamification 5, no. 1 (October 19, 2021): 27–32. http://dx.doi.org/10.21512/jggag.v5i1.7473.
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If a developer uses trademarked content from other game such as images and music, it will be illegal. But it is fine for the developer to copy the gameplay and make innovative changes to improve the game. This is a good practice that boosts innovation in the video game industry that relies on creativity. The problem is when a developer decided to use the legality to simply copy other works with no spirit of innovation. This act of legal plagiarism is called video game clone. We need to have a more understanding of Indonesia game developer’s perception toward game cloning and plagiarism. Based on the survey, it can be concluded that Indonesia game developer, in general, has no problem with the act of game cloning. Although, more effort and focus could be given to protecting both creators and consumers from the negative intent of using game clone legality
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Ivănescu, Andra. "A Response to Jennifer Smith." Journal of Sound and Music in Games 1, no. 2 (2020): 88. http://dx.doi.org/10.1525/jsmg.2020.1.2.88.
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