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Introduction

Capstone Album: 9 Songs (XX:XX) Contemporary electronic music genres, influenced by the intentions and thematic content of nine different genres of game music. Introduction. interest: Electronic music production, involvement in game music community, career interest

andrew-stanley
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Introduction

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  1. Capstone Album: 9 Songs (XX:XX) Contemporary electronic music genres, influenced by the intentions and thematic content of nine different genres of game music Introduction interest: Electronic music production, involvement in game music community, career interest Two major goals: Analysis of medium Understand game music as an evolving art form, including its background, current state, and possible future Analysis of perception Reach an informed conclusion about how game music is seen by the public, critics, and fans

  2. What is Video Game Music? Promotion of emotion Listener has active role Tremendous variety: (Promoting music, Serving narrative, Basis of gameplay) Collaborative Implementation

  3. Function and Interaction ESA Lists9 “Supergenres” of games: fighting, role-playing, children/family, action, adventure, strategy, shooter, racing, and sports Interactivity defines game music: Game music “genres” determined by dynamic qualities (whether or not the music adapts to player actions)

  4. START (Morning) Melody 1 Melody 2 Melody 3 Melody 4 START (Daytime) Continuation (New Cycle) Transition 1 The Legend of Zelda Ocarina of Time Into Combat Transition 2 Hyrule Field Theme Combat 1 Resolution 1 Exploring 1 Player in Combat Combat Has Resolved Melody Has Played TWICE Resolution Has Played Combat 2 Resolution 2 Exploring 2 Combat 3 Resolution 3 Exploring 3 Combat 4 Resolution 4 Exploring 4

  5. Is the soundtrack Important? Developer backlash Strategic Cues New genre: Games based on musical customization 2005: Nokia rules that all mobile games they offer must have a feature to turn off the music 2006: Microsoft rules that music in every XBOX 360 game must be replaceable with the user’s own music files

  6. Rhythm Action Dedicated music stores: In 2008, $1.4 Billion, 500 Million songs sold Rock Game Decline: Rapid franchise sequels, market oversaturation, Guitar Hero disbanded, survival in new genres Player reproduces series of notes/rhythms Largest cultural impact of game music Entrance into music industry for artists Use of popular music to promote games

  7. Historical Perspective Generation 1 (1970’s) – No sound at all Generation 2 (Early ’80s) – Synthesis chips Simplistic, sometimes atonal, “event sounds” Generation 3 (Mid-late ’80s) – 8-Bit Era Dedicated sound chips, multiple channels (8-Bit labeled by composers as simplistic but expressive, by fans as memorable and beloved) Generation 4 (Early-Mid ’90s) – 16-Bit Era Advanced sound chips, Storage and usage of samples, First major game soundtrack CDs released

  8. Streaming Audio (CD) Advantages: -Same sound by card -Live instruments – no limitations on composition -More familiar for composers Drawbacks: -Limited storage space -Dynamic music impossible (without wavelets) -Soundtracks much more expensive to produce Methods MIDI Advantages: -Easy communication with audio device -Composition without programming -Small filesize, complex parameters Drawbacks: -Different sound by card -Limited set of instruments -Synthetic, “choppy” sound

  9. Celebration/Subcultures - Game Bands (The Minibosses, Armcannon, The Protomen, Metroid Metal, OneUps) - Large scale orchestral game music concerts (Video Games Live, Final Fantasy Good Friends, Play!) - Game Music Organizations, Festivals, Celebrations (MAGFest, OCRemix) Game Music Culture Quick development of game industry resulted in criticism/dismissal • New music genre: Chiptunes - Use in popular music and games

  10. The Next Level • Future Game Music May: • Increasingly value nostalgia and • earlier technologies • - Be taken more seriously • Explore new musical methods and • concepts Many See Game Music As: A crucial piece of the industry A prominent cultural force A valid artistic medium Increasingly diverse INTERACTIVITY

  11. Bridgett, Rob (2005). "Hollywood Sound." Gamasutra: http://www.gamasutra.com/features/20050916/bridgett_03.shtml#3 Bruno, Antony. "Byte by Byte." Billboard. 19 12 2009: 13. Print. Bruno, Antony. "Gaming the System." Billboard. 24 01 2009: 12. Print. Collins, Karen. Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. MIT Press, 2008. Print. Eno, Brian. Keyboard Wizards. Intervew by Jim Aikin. Jul 1981. Web. 20 Jan 2011. <http://www.moredarkthanshark.org/eno_int_key-wiz-win85.html>. Farnell, Andy. "An Introduction to Procedural Audio and its Application in Computer Games." Games Sound: Theory and Practice of Video Game Music, Sound Effects, and Dialogue (2007): n. pag. Web. 15 Jan 2011. <http://obiwannabe.co.uk/html/papers/proc-audio/proc-audio.html>. Hall, Kenji. "Video Game Music Strikes a Bigger Chord." BusinessWeek Online 07 09 2008: 25. Web. 10 Jan 2011. Harlin, Jesse (2007). "Aural Fixation: Does It Sound Next Gen?" Game Developer (February). Huang, Eugene (2007). "GCD: Next-gen Audio Will Rely on MIDI, Says Sony." GamePro.com: http://www.gamepro.com/news.cfm?article_id=106508 Jørgensen, Kristine. "Left in the Dark: Playing Computer Games with the Sound Turned Off." From Pac-Man to Pop Music: Interactive Audio in Games and New Media. Karen Collins. Burlington, VT: Ashgate Publishing Company, 2008. Print. Bibliography( Questions? ) Nielsen, Simon, Jonas Smith, and Susana Tosca. Understanding Video Games: The Essential Introduction. New York, NY: Routledge, 2008. Print. Nokia Corporation (2005). "From Bleeps to Soundscapes: Designing Mobile Game Audio." http://sw.nokia.com/id/e2b3d80a-5ea7-453b-978e-1814310b4639/From_Bleeps_To_Soundscapes_Designing_Mobile_Game_Audio_v1_0_en.pdf Penfold, R A. Practical MIDI Handbook. 3rd ed. Great Britain: Bell and Bain Limited, 1997. Print. Phelps, Philip. "A Modern Implementation of Chiptune Synthesis." 01 02 2007. 3. University West of England Archive. Web. 15 Jan 2011. Sloboda, John. Exploring the Musical Mind: Cognition, Emotion, Ability, Function. 1st ed. Oxford University Press, 2005. Print. Turcan, Peter, and Mike Wasson. Fundamentals of Audio and Video Programming for Games. Redmond, WA: Microsoft Press, 2004. Print. Wilde, Martin. Audio Programming for Interactive Games. Boston, MA: Elsevier/Focal Press, 2004. Print. Wolf, Mark. The Medium of the Video Game. 1st ed. Austin, TX: University of Texas Press, 2001. Print. Yi, Matthew. "They Got Game." San Francisco Chronicle 18 Dec 2004.

  12. Capstone Album ANTIPODE - MALFORM 9 Songs (XX:XX) Contemporary electronic music genres, influenced by the intentions and thematic content of nine different genres of game music

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