Do Androids Dream of Computer Music? Proceedings of the Australasian Computer Music Conference 2017 (original) (raw)

An investigation of new musical potential in videogames

2008

Unlike traditional artistic endeavours such as literature, painting or sculpture, videogames and their creation, according to Janet Murray, are still in an incunabular period. Various efforts have been made to view videogames in light of other media such as film and narrative while few have yet to address, specifically, ways in which videogames present unique opportunities for expression. This thesis draws upon a number of authors to identify areas unique to videogames, and examines the implications for the employment of music within them. After examining the case for videogame uniqueness, the thesis looks to the current musical paradigm within videogames and, finding it somewhat lacking, offers a critique of the paradigm. A number of games that do, however, break from tradition and utilise music in exceptional ways are then discussed and their potential for adoption in future games is assessed. The final component of the thesis is an investigation into the use of music within the Xbox videogame Halo 2 (2004) through discussion with the composer, Martin O’Donnell, and an analysis of the music and sound of the game. In the process I discover that the game uses music in a way similar to the dominant paradigm, while also exhibiting a musicality within the in-game sound effects and level ambience. The result is a ‘soundscape’ style approach well suited to attaining both the emotive power of linear compositions as well as a closer relationship between music and visuals, seemingly a ‘best of both worlds’ videogame musical approach.

Video Game Music: A Connection Beyond the Controller

2013

David lightly grasps the controller of his Nintendo 64 as he leans back in his leather gaming chair. His character casually explores the depths of the Shadow Temple, when something catches his attention. The environment changes, and suddenly something does not seem right. David moves to the edge of his seat and leans forward, locking his gaze on the television screen and strengthening his grip on the controller. The music has changed and he cannot only hear it, he can feel it. Pressing the “A” button, he draws his sword and scans the environment for the enemy of which the music warns. Holding his index finger steady over “Z,” he rotates his character until he finds a Stalfos moving side-to-side, preparing to attack. David locks on to the target and engages the warrior skeleton in combat. The quick pace of the music raises his adrenaline and keeps him alert, anticipating every move the enemy makes until its defeat. After the Stalfos dissolves into flames, the music returns to that sl...

Modular Structure and Function in Early 21st-Century Video Game Music

2014

One of the most critical aspects of music in video games is that it is dynamic. This music-along with a game's visuals, events, and other audio-is flexible across gameplay, and its progression depends on various real-time factors, including the player's individual actions. For example, the player may move her character to a new area in the game's virtual world and the musical score might change in response; similarly, a particular in-game event may trigger a brief motive that sounds on top of the game's other ongoing music. As each player's experience with a particular game is unique, so each real-time musical soundtrack shapes itself-to varying degrees-to match each individualized play session. Music is an integral part of gameplay and the larger multimedia object of the game, but this media's dynamic quality challenges the study of video games and game music in ways that are unfamiliar in studies of more static media, such as most concert music and film. In particular, how can we study music whose final content and structure is unknown until the moments of gameplay? How can we equally treat each real-time soundtrack-and its contributions to gameplay-for an infinite number of individual players?

Music in computer games. Potential for marketing, utilization and effect

2011

Up to the present day, only little academic research has been done on computer game music. The existing studies are quite centered on the comparison to film music and the few empirical are mainly studies related to racing games. The term ‘computer game music’ in the article on hand will be used in its broadest meaning and includes besides music in the narrow sense every kind of atmospheric sound and sound effects, as well as sounds caused by non-player characters as long as it is no human language. So the topic incorporates fields that are normally called ‘sound design’, which can be seen as ‘composing with sounds’. At first, aspects of marketing and secondary usage will be in focus, while afterwards an overview on the use of music in narration based or plot centered computer games will be given. The special role of songs shall be considered, as well as the popular orchestral computer game music. According to film music similar functions of computer game music, interactive game related functions shall be compiled. These functions arise from the adaptability of music to certain gaming situations which are caused by the player. Subsequent thoughts on the adaptive computer game music and the utilization of rather repetitive stamped computer game music will be made. Basis for the considerations on possible effects of computer game music will be my model on the effect of music in audio-visual formats, which is based on several empirical findings by various researchers and will be complemented by the results of already existing empirical studies on music in computer games and an insight in a current pilotstudy.

Musicking with Digital Games [PhD Dissertation]

Institute of Digital Games - University of Malta, 2019

This dissertation applies the concept of ‘musicking’, introduced by musicologist Christopher Small, to the analysis of digital games. According to Small, “to music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practising, by providing material for performance (composing) or by dancing” (Small, 1998, p. 9). If that is the case, in what capacity players of digital games take part in musical performances? This dissertation provides a detailed answer to this question, situating it within the discipline of Game Studies. Digital games are considered for their cybernetic qualities (Aarseth & Calleja, 2015) as objects that can be traversed and reconfigured by means of ergodic effort. (Aarseth, 1997). The intersection of ergodic effort and musicking practices manifested in digital games generates a new musicking form : ergodic musicking. Ergodic musicking is identified as a modern form of musicking, capable of deconstructing established musical roles such as composing, improvising, or dancing. Ergodic musicking, however, is not just a mixture of previous forms: it is instead a unique musicking, only available to digital games. Thanks to their cybernetic qualities, digital games have provided music with an unprecedented platform, actualising a new form of musical participation. The subject matter of musicology of digital games is therefore to be understood as the study of musical forms of participation in digital games. Musicking is debated as a new paradigm for musicological enquire of digital games, challenging critical perspectives that have predominantly focused on the study of musical contents. Ostensibly musical digital games such as ‘Guitar Hero’ (Harmonix/RedOctane, 2005) or ‘Taiko no Tatsujin’ (Namco, 2001) are analysed for their musicking potential. These examples are then contrasted with musical games that do not remediate known musical situations, like ‘Thumper’ (Drool, 2016) or ‘BIT.TRIP RUNNER’ (Gaijin Games, 2010). This dissertation includes a detailed case study of the digital games designed by Japanese media artist Toshio Iwai, understood as a pioneer of musicking. Ergodic musicking is presented as a modality also available in digital games that feature sparse and occasional musical content, detailing an ‘experimental’ modality drawn from theories of indeterminate works. Finally, ergodic musicking is situated within the larger frame of technological musicking defined by Borgo as transmusicking (2007 ; 2013), realising the futuristic possibilities of digital and networked technologies.

The Hollywood sound paradox: A regress of game music to film music origins

Hudba - integrácie - interpretácie

Roughly after a half century of the development of game sound and music, computer technology reached such a niveau that it could bring the most fantastic and never heard sounds woven into wholly original and subtle complexes that are fully immersive and ergodic. Instead of this we are experiencing a large romantic orchestra playing in a Hollywood movie style of the 1930s and later. That is the gist of what I am tending to call "the Hollywood sound paradox". It seems there are two clashing tendencies in game music development: one technologically innovative and second stylistically regressive. In this paper I am questioning the process of constructing more and more sophisticated technologies to obtain older and older music genres. Is it possible that game music loses its authenticity originally based on specific media sound? This study provides three short analyses to suggest main stylistic categories of the current game music.

Meaningful Play : A Performative Analysis of Video Game Music

2013

S Music and the Moving Image, May 31-June 2, 2013 NYU Steinhardt, Dept. Music and Performing Arts Professions, Program in Scoring for Film and Multimedia 1. FRIDAY, May 31, 9:30 11:00 AM Frederick Loewe Theatre Music Production Libraries: The Craft and the Business Doug Wood, President of Omnimusic & ASCAP Board Member Respondents: Ron Sadoff, Jeff Smith, Elisabeth Weis 2. Friday, May 31, 11:30 1:00PM. Room 303 FROM SHADOWS TO LIMELIGHT: FILM MUSIC AS FOREGROUND, MIDDLEGROUND, AND BACKGROUND Mark Richards, University of Lethbridge In contemporary scholarship on film music, non-diegetic music is generally regarded as “background” music (indeed the two terms are often synonymous), which is not consciously heard by the audience but still contributes to the understanding of a scene. However, as Buhler, Neumayer, and Deemer (2010, 316) have recently pointed out, “the system of regulating sound [in film] is functionally defined, meaning that different components of the sound track— dialog...