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This thesis is intended to explore the development of video game music as a distinct musical genre. First, readers will find a basic summary of this document's content. Second, this paper will discuss the historical transformation of video game sound from its earlier years through an era, as proposed by the author, when game music became its own genre. Ultimately, the purpose of this thesis is to document the significant events, composers, companies, and music in the gaming industry as relevant to the genre of video game music during the author's proposed time period in which video game music truly established its own identity through its influential musical genres, technologically limited orchestration, and inspired compositional practices. The research shown in this thesis focuses on the development of video game music as a genre between the years 1985 and 1995. After the video game industry entered the home market, a decline in business resulted in its major economic collapse. Lessons learned from this resulted in greater business intelligence to rejuvenate the home gaming economy and artistry. This resulting artistic sophistication was aided by a new multifaceted philosophy in video game music creation. The previous market crash, and the technological limitations in the advancing analog gaming technologies of the time influenced the composition of the video game music between 1985 and 1995. Therefore, during the process of writing this document I have provided evidence to support an argument that the most significant developmental period for this genre was between these years. Today, the video game music genre thrives in a varied state of existence. This is seen through education, composition, concert performances, and of course, video games themselves. Different age groups and various cultures of video game patrons attest to the success and cultural significance of the video game music genre. This all is possible because the industry regained momentum after almost disappearing forever in 1983. Thanks to its currently growing and diversifying audience, the varied genre of video game music continues to technologically and compositionally advance while still reflecting back to its influences.
This thesis is intended to explore the development of video game music as a distinct musical genre. First, readers will find a basic summary of this document's content. Second, this paper will discuss the historical transformation of video game sound from its earlier years through an era, as proposed by the author, when game music became its own genre. Ultimately, the purpose of this thesis is to document the significant events, composers, companies, and music in the gaming industry as relevant to the genre of video game music during the author's proposed time period in which video game music truly established its own identity through its influential musical genres, technologically limited orchestration, and inspired compositional practices. The research shown in this thesis focuses on the development of video game music as a genre between the years 1985 and 1995. After the video game industry entered the home market, a decline in business resulted in its major economic collapse. Lessons learned from this resulted in greater business intelligence to rejuvenate the home gaming economy and artistry. This resulting artistic sophistication was aided by a new multifaceted philosophy in video game music creation. The previous market crash, and the technological limitations in the advancing analog gaming technologies of the time influenced the composition of the video game music between 1985 and 1995. Therefore, during the process of writing this document I have provided evidence to support an argument that the most significant developmental period for this genre was between these years. Today, the video game music genre thrives in a varied state of existence. This is seen through education, composition, concert performances, and of course, video games themselves. Different age groups and various cultures of video game patrons attest to the success and cultural significance of the video game music genre. This all is possible because the industry regained momentum after almost disappearing forever in 1983. Thanks to its currently growing and diversifying audience, the varied genre of video game music continues to technologically and compositionally advance while still reflecting back to its influences.
This text is intended to serve as an introduction to the study of video game music. It was initially conceived as a companion to an introductory video game music course that takes a multi-faceted survey approach to the material. Therefore, this text can be used in accompaniment with an academic setting. It can also be useful for anyone that is generally interested in learning about video game music, but does not have a very solid musical or technical foundation. As it was intended to accompany a course in which non-music majors could freely enrol, the text is accessible to nearly everyone, and covers the topic of video game music very generally.
The nature of game music charges the modern-day composer with understanding a whole host of aesthetic and technical principles unique to the medium. Based on years of working in the field, as well as teaching the subject at colleges and universities, The Theory and Practice of Writing Music for Games is an invaluable resource for those looking for a classroom tested, directed course of study. As players and composers, themselves, authors Steve Horowitz and Scott R. Looney share the inspiration and joy of game music with an emphasis on critical thinking and the creative process, exploring the parallels and distinctions to concert music, film, TV, cartoons, and other popular forms. Each chapter builds on the next and guides the reader step by step through the essentials. Along with all the theory, a multitude of clearly defined hands-on projects and exercises are included, designed to prepare the reader to go out into the field with a complete understanding of the art and craft of music composition for games and visual media. Key Features: • Discusses a variety of topics in a simple and easy-to-understand format. • Provides a valuable resource for teachers and students, anyone who is looking to build a career in music for games. • Breaks down the fundamentals needed to build your career. • Includes fun and practical exercises that strengthen your composer chops.
Music is a central component of video games. This book provides methods and concepts for understanding how game music works.
A comprehensive, practical guide to composing video game music, from acquiring the necessary skills to finding work in the field. Music in video games is often a sophisticated, complex composition that serves to engage the player, set the pace of play, and aid interactivity. Composers of video game music must master an array of specialized skills not taught in the conservatory, including the creation of linear loops, music chunks for horizontal resequencing, and compositional fragments for use within a generative framework. In A Composer's Guide to Game Music, Winifred Phillips—herself an award-winning composer of video game music—provides a comprehensive, practical guide that leads an aspiring video game composer from acquiring the necessary creative skills to understanding the function of music in games to finding work in the field. Musicians and composers may be drawn to game music composition because the game industry is a multibillion-dollar, employment-generating economic powerhouse, but, Phillips writes, the most important qualification for a musician who wants to become a game music composer is a love of video games. Phillips offers detailed coverage of essential topics, including musicianship and composition experience; immersion; musical themes; music and game genres; workflow; working with a development team; linear music; interactive music, both rendered and generative; audio technology, from mixers and preamps to software; and running a business. A Composer's Guide to Game Music offers indispensable guidance for musicians and composers who want to deploy their creativity in a dynamic and growing industry, protect their musical identities while working in a highly technical field, and create great music within the constraints of a new medium.
Composing Music for Games is a guidebook for launching and maintaining a successful career as a video game composer. It offers a pragmatic approach to learning, intensified through challenging project assignments and simulations. Author Chance Thomas begins with the foundation of scoring principles applicable to all media, and then progresses serially through core methodologies specific to video game music. This book offers a powerful blend of aesthetic, technique, technology and business, which are all necessary components for a successful career as a video game composer.
This dissertation investigates video game music from a musicological perspective, considering the role, function and effect of music in games. I hypothesize that music's significance for the gamer is founded upon the way the player interacts with the game. The nature of this interaction is determined by what is termed the 'interactive genre' in question - the type of interaction typical for a particular class of games. Thus the musical analysis of game interactive genres is an appropriate and potentially rewarding way of understanding game music. These genres of interaction are distinct and historically established, which allows a survey of many games over a relatively long chronological period. Musical analysis of interactive genres, in turn, illuminates the way in which gamers play and understand games. After creating a contextual frame for the study of game music, the body of the dissertation focuses on a genre-by-genre examination. Each chapter considers the features of a particular genre (or genres sharing key features), and examines representative games to ascertain the relationship between the game and the music. Certain genres prioritize distinct modes of interaction and components of musical function because of the interactive mechanism of the game, and thus provide the opportunity for the examination of particular musical concerns. That this is so indicates the close relationship between music and gameplay /interaction in the video game medium. A case study is used to demonstrate a 'deep reading' of the musical concerns or issues that are seen to feature prominently in the game genre in question. The study concludes with a summary in the form of a chapter on action games that focuses on the aspects of game music that can be extracted from the preceding discussions. The epilogue explores how game music may reveal the playfulness of the human-music interaction in a more general way. ii.
“This book is a must read for newcomers and experienced composers wanting to learn more about the art of video game composition.” —Chuck Doud, Director of Music, Sony Computer Entertainment Worldwide Studios All You Need to Know to Create Great Video Game Music Written by the developer of Berklee School of Music’s pioneering game scoring program, this guide covers everything professional composers and music students need to know about composing interactive music for video games, and contains exclusive tools for interactive scoring—tools that were previously available only at Berklee. Drawing on twenty years of professional experience in the game industry, Michael Sweet helps you master the unique language of music storytelling in games. Next, he walks you through the entire music composition process, from initial conceptualization and creative direction through implementation. Inside, you’ll find dozens of examples that illustrate adaptive compositional techniques, from small downloadable games to multimillion dollar console titles. In addition, this guide covers the business side of video game composition, sharing crucial advice about contracts, pricing, sales, and marketing. Coverage includes Overcoming the unique challenges of writing for games Composing music that can adapt in real time to player actions Developing thematic ideas Using audio middleware to create advanced interactive scores Working effectively with game development teams Understanding the life of a video game composer Managing contracts, rights, estimating, and negotiation Finding work The companion website contains software tools to help you master interactive music concepts explored in this book, with additional resources and links to learn more about scoring for games. See Appendix A for details.