Добірка наукової літератури з теми "Musical gameplay"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Musical gameplay".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Musical gameplay"
1
Rosenstock, Joshua Pablo. "Free Play Meets Gameplay: iGotBand, a Video Game for Improvisers." Leonardo Music Journal 20 (December 2010): 11–12. http://dx.doi.org/10.1162/lmj_a_00002.
Повний текст джерелаАнотація:
The author presents an experimental musical video game called iGotBand. Fans are central to the game's narrative, capturing a feedback loop in which the audience shares responsibility for performance.
2
d’Escriván, Julio, and Nick Collins. "Musical Goals, Graphical Lure and Narrative Drive: VisualAudio in Games." Journal of Visual Culture 10, no. 2 (August 2011): 238–46. http://dx.doi.org/10.1177/1470412911402896.
Повний текст джерелаАнотація:
Musical computer games and their reward structures are transforming solitary and participative music making. Visuals in musical games tend to assume the role of music in video games as they become incidental to the gameplay or provide graphical aid for musical decision making. Constrained manifestations of musical skill in game software simulations point towards the development of real world musical skills. Yet, arguably, no video game so far developed requires the kind of sophisticated expression that a musician hones by training. The time-scale for mastery is an order of magnitude greater in traditional musical instruments and teaching, but we may be at the dawn of a new audiovisual musical learning paradigm.
3
Aruna, Helarius Panji, Albertus Dwiyoga Widiantoro, and Bernardinus Harnadi. "Designing Android Based Game to Educate The Central Java Traditional Music Instrument for Children." SISFORMA 7, no. 2 (November 23, 2020): 90. http://dx.doi.org/10.24167/sisforma.v7i2.1926.
Повний текст джерелаАнотація:
This research was held to design & create games that can provide children with knowledge of traditional musical instruments in Central Java.The initial design of the game is done by collecting data by interviewing the speakers. The game was created using Construct 2. This game has 5 different gameplay and when completing each stage you will get 3 traditional musical instruments except stage 5. Players can get information about traditional musical instruments and the sounds they produce. The game was tested on 41 respondents and the results of the game had a positive impact on players and provided new knowledge about traditional musical instruments.
4
Bradford, Wesley J. "Exploring the Narrative Implications of Emerging Topics in The Legend of Zelda." Journal of Sound and Music in Games 1, no. 4 (2020): 1–21. http://dx.doi.org/10.1525/jsmg.2020.1.4.1.
Повний текст джерелаАнотація:
The musical palette and gameplay format of The Legend of Zelda: Breath of the Wild is significantly different from earlier games in the Legend of Zelda series. The unique narrative organization of this game interacts with the different musical style to suggest a new mode of storytelling within the franchise. This article examines the narrative structure of Breath of the Wild, then groups various contrasting musical elements into emerging topics that are key elements within the game’s narrative structure. In particular, the mechanistic topic is tied to ancient technology, while a contrasting nature topic denotes the living creatures of the gameworld. These topical cues give players important information about their in-game surroundings by linking locations, characters, and events through a completely player-driven narrative discourse.
5
Pagnutti, Johnathan. "What Does Bach Have in Common with World 1-1: Automatic Platformer Gestalt Analysis." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 12, no. 2 (June 25, 2021): 60–64. http://dx.doi.org/10.1609/aiide.v12i2.12903.
Повний текст джерелаАнотація:
Platformer level generation has often used a beat metaphor to relate to how players interact with level geometry. However, this conceptualization of beats is different from the musical concept of `beat', limiting the utility of theories and tools developed in music analysis for platformer levels. A gameplay gestalt, a pattern of interaction that the player enacts or performs in order to make progress in a game, may fit the beat metaphor. By taking a very similar lens and viewing players playing platformer levels as enacting a series of gameplay gestalts through time, gestalt music analysis (GMA) does fit into the platformer domain. This paper details work on transforming a GMA model to work with the Platformer Experience Dataset (PED), and some promising first results of the transformed model.
6
Smith, Jennifer. "Vocal disruptions in the aural game world: The female entertainer in The Witcher 3: Wild Hunt, Transistor and Divinity: Original Sin II." Soundtrack 11, no. 1 (August 1, 2020): 75–97. http://dx.doi.org/10.1386/ts_00006_1.
Повний текст джерелаАнотація:
The voice as disruption is not a new concept. Disruptions to discourses, relationships and lifestyles can be caused by the insertion of the voice. In video games, voices can be disruptive to player progressions, gameplay and character relationships through dialogue and performances. The female entertainer frequently disrupts the aural space of a game through her uniqueness as a performer at the forefront of the diegetic space, using song to tell her own story. The video games The Witcher 3: Wild Hunt (2015), Transistor (2014) and Divinity Original Sin II (2017) use diegetic female entertainer voices to disrupt the video game’s continuity. These case studies consider performance as disruption to gameplay, which is significant for the growth of the story and its characters, alongside the player’s understanding of the game’s musical meanings.
7
Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Can Competitive Digital Games Support Real-Time Music Creation?" Journal of Sound and Music in Games 3, no. 1 (January 1, 2022): 1–35. http://dx.doi.org/10.1525/jsmg.2022.3.1.1.
Повний текст джерелаАнотація:
This article presents practice-based research exploring the interplay of real-time music creation and competitive gameplay. Musically creative video games, apps, and sound art are first surveyed to highlight their characteristic avoidance of competitive game elements. The relationship between play, games, and musical activity is then examined with reference to theoretical perspectives from ludomusicology and game studies, revealing a series of mechanical and aesthetic design tensions emerging between competitive gameplay and music creation. Two original music games are presented to explore this interplay across contrasting design approaches: EvoMusic engenders an abstract competitive dialogue between the player and system for authorial control, while Idea presents a more explicit ludic framework with goals, progression, danger, and victory. The games are evaluated in a comparative user study to capture the player experience of composing within competitive game settings. Participant responses revealed conflicting expectations for ludic and compositional experiences. Idea was the preferred game, yet its strong ludic elements distracted from or disincentivized music creation; EvoMusic offered more focused music creation yet also a weaker gameplay experience for lacking these same competitive elements. This relationship reflects the theoretical design tensions suggested by ludomusical scholarship. Further, a majority of participants characterized EvoMusic as being simultaneously competitive and creatively stimulating. The implication is that competitive games can support music creation for certain players, though it remains challenging to satisfy expectations for both within any one system. Design recommendations are drawn from these insights, and the potential for future research into creative music games is discussed.
8
Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Evaluating Digital Games for Competitive Music Composition." Organised Sound 25, no. 1 (March 4, 2020): 75–88. http://dx.doi.org/10.1017/s1355771819000487.
Повний текст джерелаАнотація:
Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.
9
Fasciana, Salvatore. "The Gaming Theatre Company: players, gameplay, performance and the law." Interactive Entertainment Law Review 5, no. 2 (December 30, 2022): 80–100. http://dx.doi.org/10.4337/ielr.2022.02.02.
Повний текст джерелаАнотація:
Abstract This article proposes arguments proving that the act of playing a video game may attract copyright protection in the context of European intellectual property law. This article explores this from a multidisciplinary perspective including performance studies and EU copyright law. The increasingly popular practice and industry of ‘public gaming’ is suggesting that playing video games is now enriched with elements belonging more to musical and recitative performances. However, while actors and musicians’ performances constitute undeniable bricks of the creative process in presentations to the public, there is no such thing called ‘video game performance’ or ‘gaming performance’. The article suggests that, under certain conditions, players’ agency is able to generate a multi-layered meaning among players, audiences and the game.1 Therefore, after building a theoretical framework where gameplays are featured by theatrical performance qualities, the article proposes a definition of ‘public gaming performance’. After that, it uses such a definition to suggest that certain public gameplays, as well as being public performances under the performative studies umbrella, have everything they need to enjoy copyright protection under EU copyright law. On the one hand, then, this article uses theatrical models to shape gaming as a performative activity. On the other hand, it analyses the legal structures and mechanisms preventing game stream from attracting copyright protection while providing the reader with observations on the main obstacles to the full empowerment of players as performers.
10
Jenson, Jen, Suzanne De Castell, Rachel Muehrer, and Milena Droumeva. "So you think you can play: An exploratory study of music video games." Journal of Music, Technology and Education 9, no. 3 (December 1, 2016): 273–88. http://dx.doi.org/10.1386/jmte.9.3.273_1.
Повний текст джерелаАнотація:
Digital music technologies have evolved by leaps and bounds over the last 10 years. The most popular digital music games allow gamers to experience the performativity of music, long before they have the requisite knowledge and skills, by playing with instrument-shaped controllers (e.g. Guitar Hero, Rock Band, Sing Star, Wii Music), while others involve plugging conventional electric guitars into a game console to learn musical technique through gameplay (e.g. Rocksmith). Many of these digital music environments claim to have educative potential, and some are actually used in music classrooms. This article discusses the findings from a pilot study to explore what high school age students could gain in terms of musical knowledge, skill and understanding from these games. We found students improved from pre- to post-assessment in different areas of musicianship after playing Sing Party, Wii Music and Rocksmith, as well as a variety of games on the iPad.
Дисертації з теми "Musical gameplay"
1
Ko, Yi-Chun. "Espace sensible : expérience inter-sensorielle et corporelle, à partir des dispositifs musicaux interactifs." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080129.
Повний текст джерелаАнотація:
Ce travail de recherche s’inspire de l’approche d’énaction élaborée par F.-J Varela lorsqu’il développa sa théorie de la cognition incarnée. Pour qu’une propriété cognitive soit incarnée, il faut que l’organisme vivant s’engage perceptivement dans un processus dynamique avec le monde environnant. Afin de développer les moyens musicaux pour motiver les auditeurs à s’approprier leurs expériences vécues, nous proposons le terme « d’espace sensible » dans le but d’articuler le jeu d’écoute musicale et de l’expérience inter-sensorielle et corporelle. Cette dernière consiste en l’expérience d’interaction sensorielle entre l’extéroception et la proprioception. De même, nous spécifions l’expérience corporelle sur ses deux aspects : le corps physique et le corps virtuel – leschéma corporel et l’image du corps. La relation inharmonieuse de ces deux aspects du corps entraînera chez un sujet-percevant une tension, voire une souffrance, physique et psychique. Pour entraîner le sujet-percevant à prendre conscience de cette discordance, différentes méthodes de rééducation somatique sont développées. Dans ce contexte, émettons l’hypothèse que l’utilisation de dispositifs musicaux interactifs peut contribuer à l’exploration de l’espace sensible et ainsi exercer un impact bénéfique dans le cadre de la rééducation somatique. Les moyens de démonstration consistent en la construction et le test de protocoles de jeux d’écoute, à exposer le public à des dispositifs multimédia interactifs ainsi que l’étude de cas propre aux enfants atteints d’autisme. Nous nous approprions plusieurs techniques pour mettre en place des dispositifs musicaux interactifs : l’improvisation collaborative, la synchronisation spontanée de la posture et du mouvement corporel, l’empathie kinesthésique réciproque. Enfin, nous mettons en évidence les effets bénéfiques de l’introduction des dispositifs musicaux numériques dans le cadre du soin somatique. A la vue de ces résultats expérimentaux, nous sommes autorisés à affirmer que l’exploration de l’écoute peut avoir un impact bénéfique dans un contexte de rééducation somatique à condition que l’écoute soit en acte et vécue musicalementThis research was inspired by the enactive approach elaborated by F.-J Varelawhen he developed the embodied cognition theory; a living organism has to be involved physically and perceptually in a dynamic process with its surrounding environment so that a cognitive property can be embodied. To develop musical possibilities to motivate the listeners to appropriate their real life experiences, we are proposing the term "sensitive space" to articulate two practices of inter-sensory and physical experience : gameplay of musical listening and somatic exercise. This inter-sensory experience consists of the sensory interaction between exteroception and proprioception. We also focus on two specific aspects of this physical experience: the physical body and the virtual body - the body schema and the body image. The inharmonious relation of these two aspects will lead to a tension, sometimes to physical and psychic pain. To help the perceiving subject to become aware of this conflict, various somatic techniques are developed. We emit the hypothesis that the use of interactive musical devices can contribute to the exploration of the sensitive space, and thus bring a beneficial impact in somatic learning and rehabilitation. Several ways of demonstrating are: 1) the construction and tests of listening gameplay protocols, 2) the public exhibition of interactive multimedia devices 3) the case study on children affected by autism. We use different techniques to set up interactive musical devices: collective improvisation, spontaneous synchronization of the posture or the physical movement, kinesthetic empathy, etc. Finally, we highlight the beneficial aspects of introducing the interactive musical devices within the framework of healthcare. With these experimental results, we can then assert that the exploration of musical listening can have a beneficial impact in the context of somatic learning, on the condition that the listening is an act and lived musically
2
Andersson, Anders-Petter. "Interaktiv musikkomposition." Doctoral thesis, Högskolan Kristianstad, Sektionen för hälsa och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-9771.
Повний текст джерелаАнотація:
This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and perspectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience dimensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.Ljudfiler till avhandlingens bilaga 1, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Do-Be-DJ, Interaktiv installation, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Mufi I och II, Interaktiv installation, http://musicalfieldsforever.com/mufi_more.html; Doktorandtjänsten finansierades av Interactive Institute; Musikinspelning finansierades av Framtidens Kultur genom Skiften på Malmö högskola
Interaktiv musikkomposition
Interactive Music Composition
Interaktiv ljuddesign
Interactive Sound Design
Musik och Hälsa
Music and Health
3
Thumm, Alexander. "Creative Performance in Play: A Synthesis of Audio, Visual and Narrative for Maximising Expressive Potentials in Gameplay." Thesis, 2017. https://hdl.handle.net/2440/132279.
Повний текст джерелаАнотація:
Part 1: Exegesis -- Part 2: Appendices, see attached files. Appendix E unavailable.This thesis explores expressive audio-visual performance in video games. It has been developed via the author’s creative and technical background in the field of electronic music. Primary aims of this research are: • Introduce key electronic music concepts into the field of video games in order to make gameplay as expressive as electronic music performance, by offering greater potential for original creativity in gameplay, and a more co-creative experience • Compare expressive attributes inherent in electronic music, to audio, visual and narrative elements of gameplay. Thus find analogs in those areas where similar levels of expressiveness can be developed and integrated as co-creative gameplay • Generate a conceptual framework, technical realization, and creative realization (playable game providing narrative framing for performative interactions) to contribute to the field of expressive and co-creative performance in games This research is primarily intended as a contribution to the field of video games. By beginning with a small scale-focus on moment to moment gameplay this conceptual framework engages with expressive potentials already existent in the field of electronic music. By mapping dynamic gameplay parameters (e.g. avatar movement, proximities, cursor interactions) to musical parameters (e.g. DSP effects settings), a gameplay prototype was developed, rehearsed and iterated upon. This allowed for the development of performance objects (e.g. synthesizers, camera filters, etc), iterative refinement of any given object towards more expressive gameplay, and development of inter-object-relationships. The combination of a large diversity of objects, and a small set of data-flow languages facilitates a large array of interdependent routings between audio, visual and narrative functions. Expressive potentials of audio-visual gameplay combine with narrative context to enable a co-creative experience for the player where they can situate themselves as an interdependent unit in the shifting contexts of performative play.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2018
Книги з теми "Musical gameplay"
1
Gibbons, William. Love in Thousand Monstrous Forms. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.003.0008.
Повний текст джерелаАнотація:
Borrowing Mikhail Bakhtin’s notion of the grotesque, this chapter explores how the use of remixed classical works contributes to the game Catherine’s pervasive focus on opposing dualities. The chapter describes in detail how, for example, music comments on the real world and horrific dreamworld experienced within the game by the main character, Vincent, who is in the midst of a major life crisis. It explores how the careful selection of musical works in Catherine, along with the irreconcilable combination of high and low arts, mirrors dualistic structures found throughout the game, from the mixing of unlikely gameplay genres to its narrative details.
2
McAlpine, Kenneth B. The ZX Spectrum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0003.
Повний текст джерелаАнотація:
The ZX Spectrum, even for its time, was a very simple machine, yet it was a runaway commercial success, almost single-handedly kickstarting the UK games industry. This chapter examines the launch of the ZX Spectrum and the challenges its hardware design presented to game developers. In fact, the ZX Spectrum was as rudimentary as digital music can get. It offered no hardware sound support, and its single-channel beeper provided a single bit of resolution and was controlled directly by the machine’s main CPU, making it a real challenge to create synchronous music and gameplay. Nonetheless, it was not long before developers managed to work out inventive ways to use it, harnessing the power of creative synthesis and performance coding to move from simple, monophonic beeps to sophisticated multichannel prog rock arrangements complete with percussion and effects.
3
McAlpine, Kenneth B. Nintendo’s NES. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0005.
Повний текст джерелаАнотація:
The North American video game crash of 1983 made it difficult for Nintendo to break into the American market with its new console, the Nintendo Entertainment System. When it finally did gain a toehold in 1986, it was the Nintendo ‘Seal of Quality’, a graphical rosette that was emblazoned on every official Nintendo release, that encouraged consumers to buy video game cartridges once more. This chapter explores how the difficulties in getting the Nintendo Entertainment System to market, coupled with a strong sense of house style, played an important part in creating a consistency in the 8-bit sound, in terms of both quality and style. The chapter focuses on Super Mario Bros., the game that defined the Nintendo Entertainment System. Its catchy soundtrack captured the qualities of the gameplay. It discusses how the game’s composer, Koji Kondo, defined the formal grammar and style of a new form of media music, the interactive game underscore, and worked with the hardware to create a light, jazz-inspired sound.
Частини книг з теми "Musical gameplay"
1
Hoover, Amy K., William Cachia, Antonios Liapis, and Georgios N. Yannakakis. "AudioInSpace: Exploring the Creative Fusion of Generative Audio, Visuals and Gameplay." In Evolutionary and Biologically Inspired Music, Sound, Art and Design, 101–12. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-16498-4_10.
Повний текст джерела
2
Fizek, Sonia. "Introduction: Slow Play." In Mental Health | Atmospheres | Video Games, 127–46. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-012.
Повний текст джерелаАнотація:
This contribution sketches the emerging practice of slow play, which is framed as a reaction to the ever more present bombardment of digital stimuli and a way to carve out spaces to contemplate within the oversaturated digital sphere. Slow play is characterized by aimless wandering in the gameworlds or contemplating their surroundings rather than engaging in the challenges of structured and/or competitive gameplay. It may also point towards a sensory engagement with soothing software (self-care, meditation, and ambient music game applications).
3
Nickel, Vadim. "Generative Atmospheres." In Mental Health | Atmospheres | Video Games, 195–208. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-015.
Повний текст джерелаАнотація:
Playing computer games is an active pastime: players are presented with a dynamic game scenario that requires various inputs in order to engage with its core game loop. To do so, the player must constantly pay attention to the game while performing actions to propel gameplay. However, some games can be experienced over multiple levels of engagement. Such games feature levels of engagement that may not require the constant provision of input to offer a meaningful experience. In these games, atmosphere reveals itself as the underlying structure, intricate enough to be experienced in its own right. Ambient music, a term coined by musician Brian Eno, is a genre that is meant to allow for different levels of engagement. This may reach from ambient music being a background accompaniment in a given setting, to being the center of listener attention. This article will identify a type of game that can be perceived in a similar vein. Such a game offers ambient modes of experience: It allows to be experienced over varying levels of engagement and intensities of interactions. The term ambient game is relevant in this context since the music genre of the same name is referenced here. This article will present existing definitions of ambient games that identify parallels between the creation and perception of ambient music and various modes of experiencing digital games. Based on these findings, this article will propose three ambient modes of experience that represent the varying intensities of player interaction within the diegetic boundaries of games.
4
Waxman, Jonathan. "The Sounds of 8-Bit Nostalgia: The Resurgence of Chiptune Music in Contemporary Film-Based Videogames." In Nostalgia and Videogame Music: A Primer of Case Studies, Theories, and Analyses for the Player-Academic, 107–26. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789385519_5.
Повний текст джерелаАнотація:
My study focuses on a trend from the 1980s and 1990s that has recently been revived: releasing 8-bit game versions of movies with a cult following. Like their decades old counterparts, these games, such as Manos: The Hands of Fate (2012) and The Room Tribute Game (2010) take memorable sections of the musical score, transform them into chiptune music, and employ them to underscore the gameplay during relevant stages. Comparing the music for the original films with the sections chosen for their chiptune adaptations as well as the games’ marketing allows an analysis of how the chiptune music expresses nostalgia both through recollections of the original film music and 1980s chiptune audio. In this way, the games convey nostalgia through their faithfulness to the original film score as well as their fidelity to the conventions of 8-bit gameplay and audio.
5
Vitalino, Michael, and Vincent E. Rone. "A Player’s Guide to the Psychology of Nostalgia and Videogame Music." In Nostalgia and Videogame Music: A Primer of Case Studies, Theories, and Analyses for the Player-Academic, 24–45. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789385519_1.
Повний текст джерелаАнотація:
Videogame music (VGM) can elicit deeply nostalgic experiences, which stem from a confluence of psychological, musical, and ludological factors. Through plural-disciplinary study, we demonstrate how VGM can provoke nostalgia and, conversely, how nostalgia can surface in VGM experiences. We first examine the intimate relationship between nostalgia and music through the medial prefrontal cortex (MPFC) of the brain, which governs aspects of music cognition and emotion. Second, we offer a framework outlining principles for emotional induction through VGM by identifying musical components that provoke emotional states during gameplay and result in nostalgia later in life. Finally, we address how immersion in videogame play provides opportunities to experience music-based nostalgia. Emotions and relationships can arise as a consequence of play, which provides fertile ground for the seed of nostalgia. This paper presents a nexus of scholarship to understand their gaming and VGM experiences through the lens of nostalgia.
6
Kellman, Noah. "Advanced Algorithmic Music Systems." In The Game Music Handbook, 149–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938680.003.0011.
Повний текст джерелаАнотація:
This chapter builds on the previous discussion of procedural music, examining the advanced capabilities of custom-built algorithmic music systems, and how they can respond to minute changes in game data. This exploration examines Uurnog Uurnlimited (2017), a game developed by Niklas Nygren (aka Nifflas), which features such an algorithmic music system. Nifflas designed Uurnog with real-time audio generation as a key feature of the gameplay experience, even going so far as to create a stand-alone music system called Ondskan to give himself nearly unlimited control over how a procedural musical score is attached to game data. Through the exploration of advanced reactive music systems, the reader will encounter many tools useful in thinking outside the box when crafting a music design for a game. These tools can give developers multiple approaches for creating scores that adapt to each play-through and provide the player with a uniquely personalized score.
7
Thompson, Ryan. "Video Games, Performance, and Algorithmic Processing of Music." In The Oxford Handbook of Public Music Theory. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197551554.013.30.
Повний текст джерелаАнотація:
Abstract Video games for which the gameplay interacts with game audio as part of the core gameplay loop often invite players to consider music in new ways. Occasionally, this can lead to using games themselves as analytical tools that emphasize different parts of music than many traditional analytical frameworks. Discussions of rhythm and meter, and comparing multiple performances of the same work to one another, are all facilitated by video games in interesting ways. This chapter discusses Crypt of the Necrodancer, Guitar Hero, and Audiosurf as both musically-engaged video games and as spaces inviting conversations surrounding music theory approachable by an engaged, amateur public.
8
Harwood, Tracy. "Machinima." In Advances in Media, Entertainment, and the Arts, 149–81. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0016-2.ch007.
Повний текст джерелаАнотація:
This chapter presents an overview of machinima, an important socio-cultural movement that originated in the 1990s gameplay movement known as demoscene. The chapter presents a review of literature and key issues related to its evolution. Modes of its production (perfect capture, screen capture, asset compositing, bespoke machinimation) are described, along with the range of different genres that have emerged, including fan vid, parody, documentary, music video, advertising, reportage, reenactment, activist, pre-visualization and artistic forms. Thereafter, the chapter identifies channels of distribution and growth trajectories for each. The chapter then presents four key phases of the emergence of machinima, identifying the key actors and roles of organizations within each phase. As a movement that continues to evolve, the discussion presented is by no means a final analysis, thus the aim of the chapter is to present a ‘state of the art' overview of its emergence and development.
9
Aksoy, Can. "Remembering the Rules: Immersive Nostalgia in Final Fantasy Leitmotifs." In Nostalgia and Videogame Music: A Primer of Case Studies, Theories, and Analyses for the Player-Academic, 85–106. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789385519_4.
Повний текст джерелаАнотація:
This paper explains how videogame leitmotifs employ nostalgia to increase player immersion in virtual worlds. It first theorizes how nostalgic references unrelated to leitmotifs hinder immersion. Re-released titles, re-mastered videogames, and “nostalgia games” entertain by making nostalgic references to classic games. This effort forces players to acknowledge that they are playing a simulation of the past, and hinders immersion. However, nostalgic references avoid this problem when leitmotifs are their vehicle. Leitmotifs are often used in videogames to increase immersion by unobtrusively explaining game systems from the background of play. Final Fantasy (FF) games illustrate how nostalgic memory associated with a leitmotif bolsters this process. FF has used the same leitmotifs over the entire series. When a contemporary FF game plays a familiar leitmotif, it first entertains fans with their nostalgic memories of their past titles, then reminds them of their familiarity with gameplay rules, and ultimately increases immersion.