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Relevant bibliographies by topics / Video Game Sound

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Journal articles
Dissertations / Theses
Books
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Conference papers

Academic literature on the topic 'Video Game Sound'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Video Game Sound"

1

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 t

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Graakjær, Nicolai Jørgensgaard. "‘Listen to the atmosphere!’: On spectator sounds and their potentially disruptive role in a football simulation video game." Soundtrack 11, no. 1 (2020): 39–55. http://dx.doi.org/10.1386/ts_00004_1.

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This article aims to specify the role of spectator sounds in football simulation video games as exemplified by FIFA 19: what are the structures and functions of spectator sounds and how are these sounds related to the visuals of the video game and the player’s actions and potential experience of disruption? Although the examination generally adds to the understanding of a prevalent and purportedly significant yet hitherto rather underexplored type of video game sound, the examination also motivates a modification of certain positions within previous research that has routinely highlighted the

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Collins, Karen. "Game Sound." Journal of Sound and Music in Games 1, no. 1 (2020): 100–102. http://dx.doi.org/10.1525/jsmg.2020.1.1.100.

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Robb, James, Tom Garner, Karen Collins, and Lennart E. Nacke. "The Impact of Health-Related User Interface Sounds on Player Experience." Simulation & Gaming 48, no. 3 (2017): 402–27. http://dx.doi.org/10.1177/1046878116688236.

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Background. Understanding how sound functions on informational and emotional levels within video games is critical to understanding player experience of games. User interface sounds, such as player-character health, are a pivotal component of gameplay across many video game genres, yet have not been studied in detail. Method. To address this research gap in user interface sounds, we present two studies: The first study examines the impact of the presence or absence of player-health sounds on player experience. The second study explores the impact of the types of sound used to indicate player h

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Kopaniecki, Jakub. "Walking the streets of a virtual metropolis. The audiosphere of the game Grand Theft Auto IV." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 173–84. http://dx.doi.org/10.14746/ism.2019.19.12.

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On the basis of works devoted to the topic of sound studies and video games, the author presents ways of processing and using sounds in order to create virtual phonic spaces. He examines the means by which contemporary game developers influence immersivity, i.e., the process of immersing the gamer in virtual environments, as well as indicating the mutual influences of audial and visual spheres. Analysig the video game Grand Theft Auto IV from the perspective of the sound which accompanies the action, he compares in this respect three areas of the game’s Liberty City with their equivalents in N

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Gibbons, William. "Rewritable Memory: Concerts, Canons, and Game Music History." Journal of Sound and Music in Games 1, no. 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 cano

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Grasso, Julianne. "On Canons as Music and Muse." Journal of Sound and Music in Games 1, no. 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 cano

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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 (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 cano

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Cook, Karen M. "Canon Anxiety?" Journal of Sound and Music in Games 1, no. 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 cano

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Charrieras, Damien, and Nevena Ivanova. "Emergence in video game production: Video game engines as technical individuals." Social Science Information 55, no. 3 (2016): 337–56. http://dx.doi.org/10.1177/0539018416642056.

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This article is interested in the creative practices in video game production. More specifically, the research focuses on the ways in which the use of game engines – a toolkit that offers a set of functionalities to automatize the handling of a range of processes (graphics, sound, game physics, networks, artificial Intelligence) – make possible or impossible certain forms of emergences in video games production. The manipulation of objects in these game engines is done according to a certain programming paradigm. Two main programming paradigms currently govern the internal design of game engin

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Dissertations / Theses on the topic "Video Game Sound"

1

Shur, Etelle. "Remixing Overwatch: A Case Study in Fan Interactions with Video Game Sound." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1076.

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In the past, video game communities have been studied after they have already been well-established. Studying the Overwatch fandom now, less than a year after the game’s release, while its community is still growing, allows me to observe the way gamers bring prior fandom experiences to a new game and the way a new fan community establishes its own practices. Moreover, the Overwatch fandom is growing at a time when technology is rapidly changing the way fans share transformative works and the way media companies interact with fans. Studying Overwatch fan communities now can give a sense of what

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Bélteky, Markus. "Emotion in video game audio : Can sound effects be perceived to contain positive emotional content?" Thesis, Luleå tekniska universitet, Medier, ljudteknik och teater, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74148.

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Sound is an important part of almost all media. In games, sounds are used to evoke intense emotions in players. Studies has showed that music on its own can induce emotions. Soundeffects is another type of sounds that appear in games. However, do they contribute to the emotional experience? Understanding this will help sound designers enhance scenes in future video games. In this study, 23 participants were asked to conduct a test divided into two part. In the first part they were tasked to listen to four sound effects of fire and choose attributes from a predetermined list that they thought s

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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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Wallin, Emil. "Evaluation of Physically Inspired Models in Video Game Melee Weapon SFX." Thesis, Luleå tekniska universitet, Medier, ljudteknik och teater, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-78968.

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This study explored the possible impact to a game’s responsiveness and to players’ preferences by using a physically inspired model (real-time pitch and amplitude modulation) as a means of efficiently achieving responsive variation for melee weapon sound effects in a game using the in-engine audio features. A play test was created were 24 participants (12 with audio engineering backgrounds, 12 without), all with prior gaming experience, played through a game level where they would audition a non-variational implementation of a sword’s sound effects and a variational implementation with the sam

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Warden, James. "Senses, Perception, and Video Gaming: Design of a College for Video Game Design and Production." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1116113863.

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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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Rogers, Katherine Linn. "The Sounds of "Pac-Man Fever": Intersections of Video Game Culture and Popular Music in America." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1559848783170242.

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Grimshaw, Mark Nicholas. "The Acoustic Ecology of the First-Person Shooter." The University of Waikato, 2007. http://hdl.handle.net/10289/2653.

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This thesis contributes to the field of Game Studies by presenting the hypothesis that the player(s) and soundscape(s) in the first-person shooter (FPS) game, and the relationships between them, may be construed as an acoustic ecology. It explores the idea that the single-player FPS game acoustic ecology has the basic components of player and soundscape and that the relationships between these two lead to the creation and perception of a variety of spaces within the game world constituting a significant contributing factor to player immersion in that world. Additionally, in a multiplayer FPS

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Nyberg, Oscar. "Does changing the frequency content of a reverb affect perceived emotion in a video-game?" Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74656.

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Emotion is a large part of the experience when playing video-games, and sound design can strongly influence the emotional response in players. This study is about the effect reverb, which is part of the sound design, can have on a players perceived emotion. An experiment was conducted, where twenty subjects got to play a video-game level which included two churches. These were identical both visually and audibly, except for the frequency content in the reverb in each church. Results show that the subjects perceived different emotions depending on what reverb they heard.

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Le, Prado Cécile. "Ecriture sonore : entre déterminisme, émergence et interactivité." Thesis, Paris, CNAM, 2013. http://www.theses.fr/2013CNAM0913/document.

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L’auteur de cette thèse a réalisé, en tant que compositeur, un ensemble d’installations sonores. Ce travail part d’une composition déterministe et linéaire et mène progressivement à une œuvre ouverte. Durant les dernières années, ce travail a été influencé par les méthodes d’écritures utilisées dans la conception de jeux vidéo, aboutissant à des œuvres sonores spatiales et interactives. Dans le processus de conception de ces dernières, le compositeur va être amené à penser la conception sonore dans un espace virtuel ou réel en fonction des déplacements d’un auditeur. Une façon de mener cette d

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Books on the topic "Video Game Sound"

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Game sound: An introduction to the history, theory, and practice of video game music and sound design. MIT Press, 2008.

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Dave, Raybould, ed. The game audio tutorial: A practical guide to sound and music for interactive games. Boston, 2011.

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Pro Tools 10 for game audio. Course Technology/Cengage Learning, 2012.

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1968-, Wasson Mike, ed. Fundamentals of audio and video programming for games. Microsoft Press, 2004.

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Sound effects artist. Cherry Lake Publishing, 2016.

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The foley grail: The art of performing sound for film, games, and animation. Focal Press, 2009.

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Designing sound. MIT Press, 2010.

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8

Sound play: Video games and the musical imagination. Oxford University Press, 2014.

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9

Collins, Karen. Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. MIT Press, 2018.

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Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. The MIT Press, 2008.

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Book chapters on the topic "Video Game Sound"

1

Williams, Duncan. "Emotion in Speech, Singing, and Sound Effects." In Emotion in Video Game Soundtracking. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72272-6_3.

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Visi, Federico, and Frithjof Faasch. "Motion Controllers, Sound, and Music in Video Games: State of the Art and Research Perspectives." In Emotion in Video Game Soundtracking. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72272-6_8.

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Murray, Leo. "Sound in video games." In Sound Design Theory and Practice. Routledge, 2019. http://dx.doi.org/10.4324/9781315647517-9.

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Kerfs, Jeremy. "Adding Sound Effects, Music, and Video." In Beginning Android Tablet Games Programming. Apress, 2011. http://dx.doi.org/10.1007/978-1-4302-3853-9_4.

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Garner, Tom A. "From Sinewaves to Physiologically-Adaptive Soundscapes: The Evolving Relationship Between Sound and Emotion in Video Games." In Emotion in Games. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-41316-7_12.

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Nitsche, Michael. "Sound in Game Spaces." In Video Game Spaces. The MIT Press, 2008. http://dx.doi.org/10.7551/mitpress/9780262141017.003.0080.

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"Push Start Button: The Rise of Video Games." In Game Sound. The MIT Press, 2008. http://dx.doi.org/10.7551/mitpress/7909.003.0003.

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"Press Reset: Video Game Music Comes of Age." In Game Sound. The MIT Press, 2008. http://dx.doi.org/10.7551/mitpress/7909.003.0005.

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"Sound." In The Routledge Companion to Video Game Studies. Routledge, 2014. http://dx.doi.org/10.4324/9780203114261-24.

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Kellman, Noah. "Exploring the Use of Musical Sound Effects in Games." In The Game Music Handbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.003.0006.

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Musical sound effects are brief, event-triggered sounds, apart from the dialogue or music, which nonetheless contain a distinctly musical element as part of their sonic essence. Combining semiotic codes and thematic materials, musical sound effects can serve various important functions in video games: accentuating emotions, building worlds, providing signals and clues, and other purposes. This chapter explores various examples of their use, discussing how and why they are used on a case by case basis. It then provides readers with different techniques that can be applied to their own video game music projects.

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Conference papers on the topic "Video Game Sound"

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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. 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 surroundin

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Yawata, Daiki, Kenichiro Ito, Kengo Watanabe, Takuma Hirayama, and Akinori Ito. "A Study on Sound Analysis in Video Game with the Aspect of Sense of Agency and Sence of Ownership." In 2017 Nicograph International (NicoInt). IEEE, 2017. http://dx.doi.org/10.1109/nicoint.2017.28.

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Lloyd, D. Brandon, Nikunj Raghuvanshi, and Naga K. Govindaraju. "Sound synthesis for impact sounds in video games." In Symposium on Interactive 3D Graphics and Games. ACM Press, 2011. http://dx.doi.org/10.1145/1944745.1944755.

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Wang, Richert, and Vincent Olivieri. "Sound Design for Video Games." In SIGCSE '18: The 49th ACM Technical Symposium on Computer Science Education. ACM, 2018. http://dx.doi.org/10.1145/3159450.3159577.

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Ng, Patrick, and Keith Nesbitt. "Informative sound design in video games." In The 9th Australasian Conference. ACM Press, 2013. http://dx.doi.org/10.1145/2513002.2513015.

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Su, Feng, and Chris Joslin. "Procedural Sound Generation for Soft Bodies in Video Games." In MIG '19: Motion, Interaction and Games. ACM, 2019. http://dx.doi.org/10.1145/3359566.3360068.

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Song, Guanghan, Denis Pellerin, and Lionel Granjon. "How different kinds of sound in videos can influence gaze." In 2012 13th International Workshop on Image Analysis for Multimedia Interactive Services (WIAMIS). IEEE, 2012. http://dx.doi.org/10.1109/wiamis.2012.6226776.

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Cowan, Brent, and Bill Kapralos. "Spatial sound for video games and virtual environments utilizing real-time GPU-based convolution." In the 2008 Conference. ACM Press, 2008. http://dx.doi.org/10.1145/1496984.1497012.

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Cullen, Brian, Daniel Galperin, Karen Collins, Andrew Hogue, and Bill Kapralos. "The effects of 5.1 sound presentations on the perception of stereoscopic imagery in video games." In IS&T/SPIE Electronic Imaging, edited by Andrew J. Woods, Nicolas S. Holliman, and Gregg E. Favalora. SPIE, 2013. http://dx.doi.org/10.1117/12.2003136.

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Du, Yao, Kerri Zhang, Sruthi Ramabadran, and Yusa Liu. "“Alexa, What is That Sound?” A Video Analysis of Child-Agent Communication From Two Amazon Alexa Games." In IDC '21: Interaction Design and Children. ACM, 2021. http://dx.doi.org/10.1145/3459990.3465195.

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