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

Capstone Album:

9 Songs (XX:XX)Contemporary electronicmusic genres, influenced bythe intentions and thematiccontent of nine differentgenres of game music

What is Video Game Music?

Promotion of emotion

Listener has active role

Tremendous variety: (Promoting music, Serving narrative, Basis of gameplay)

Collaborative Implementation

Function and Interaction

ESA Lists 9 “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)

Player in Combat Combat Has Resolved Melody Has Played TWICE Resolution Has Played

Hyrule Field Theme

The Legend of Zelda

Ocarina of Time

START(Morning)

START(Daytime)

Melody 1 Melody 2 Melody 3 Melody 4

Transition 1

Transition 2

Exploring 1

Exploring 2

Exploring 3

Exploring 4

Resolution 1

Resolution 2

Resolution 3

Resolution 4

Into Combat

Combat 1

Combat 2

Combat 3

Combat 4

Continuation(New Cycle)

Is the soundtrack Important? 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

Developer backlash Strategic Cues

New genre: Games based on musical customization

Rhythm Action

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

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

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

Methods MIDIAdvantages: -Easy communication with audio device -Composition without programming -Small filesize, complex parametersDrawbacks:

-Different sound by card

-Limited set of instruments -Synthetic, “choppy” sound

Streaming Audio (CD)Advantages: -Same sound by card -Live instruments – no limitations on composition -More familiar for composersDrawbacks:

-Limited storage space

-Dynamic music impossible (without wavelets) -Soundtracks much more expensive to produce

Game Music Culture Quick development of game industry resulted in criticism/dismissal

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)

New music genre: Chiptunes- Use in popular music and games

The Next Level Many See Game Music As:- A crucial piece of the industry- A prominent cultural force- A valid artistic medium- Increasingly diverse

Future Game Music May:- Increasingly value nostalgia and earlier technologies- Be taken more seriously- Explore new musical methods and concepts

INTERACTIVITYINTERACTIVITY

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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