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Einfluss Technischer Mittel Auf Die Kompostionsmethoden Von Jeremy Soule
Einfluss technischer Mittel auf die Kom- positionsmethoden von Jeremy Soule Andrea Giffinger Institut für Musikwissenschaft, Innsbruck Zusammenfassung Im folgenden Text werden einige der Kompositionsmethoden Jeremy Soules exemplarisch herausge- hoben. Es sollen dabei die verschiedenen Parameter aufgezeigt werden, die den kreativen Prozess eines Komponisten beeinflussen. Darüber hinaus wird auch auf einige der Probleme, mit denen er aufgrund der ihm zur Verfügung stehenden technischen Mittel konfrontiert wurde, eingegangen, sowie deren Lösung gezeigt. Am Ende werden Forschungsfragen im Bezug auf die Elder Scrolls Reihe gestellt. 1 Einleitung Computerspiele wurden bereits in den 1970er kommerziell vermarktet, die akademische For- schung allerdings beschäftigte sich erst in den späten 1990er eingehender mit diesem Medien- phänomen. Seitdem haben sich verschiedenste Disziplinen, die gemeinsam das Forschungsfeld der Video Game Studies bilden, auf analytischer Ebene mit Computerspielen auseinandergesetzt (Süß, 2006). Um die Musik in Computerspielen zu untersuchen, werden nicht selten Methoden der Analyse von Filmmusik angewandt. Jedoch bergen diese Gefahren, da es sich, im Gegen- satz zum Film, um ein interaktives Medium handelt. Je nach Genre bestimmt der Spieler den Ablauf der Musik, wobei ihre Wirkung wiederum Auswirkungen auf den Ablauf des Spiels ha- ben kann. Gerade in der Spielreihe Elder Scrolls III-V, deren von Jeremy Soule komponierte Musik Gegenstand meiner Forschung ist, erhält diese durch die offene Spielwelt einen perfor- mativen Aspekt. Die spärlich vorhandene Literatur über Musik in Computerspielen, der Mangel an geeigneten Analyse Theorien und die Tatsache, dass sie immer präsenter in den Konzertsälen wird, ist Anreiz sich mit diesem Thema intensiv zu beschäftigen. 2 Umgang mit technischen Mitteln Soule komponiert seit 1995 Musik für Computerspiele (Dean, 2013) wie Secret of Evermo- re Total Annihilation, Star Wars: Knights of the Old Republic, die Harry Potter Reihe, Guild VeröffentlichtPlatzhalter für durch DOI die und Gesellschaft ggf. -
10Th IAA FINALISTS ANNOUNCED
10th Annual Interactive Achievement Awards Finalists GAME TITLE PUBLISHER DEVELOPER CREDITS Outstanding Achievement in Animation ANIMATION DIRECTOR LEAD ANIMATOR Gears of War Microsoft Game Studios Epic Games Aaron Herzog & Jay Hosfelt Jerry O'Flaherty Daxter Sony Computer Entertainment ReadyatDawn Art Director: Ru Weerasuriya Jerome de Menou Lego Star Wars II: The Original Trilogy LucasArts Traveller's Tales Jeremy Pardon Jeremy Pardon Rayman Raving Rabbids Ubisoft Ubisoft Montpellier Patrick Bodard Patrick Bodard Fight Night Round 3 Electronic Arts EA Sports Alan Cruz Andy Konieczny Outstanding Achievement in Art Direction VISUAL ART DIRECTOR TECHNICAL ART DIRECTOR Gears of War Microsoft Game Studios Epic Games Jerry O'Flaherty Chris Perna Final Fantasy XII Square Enix Square Enix Akihiko Yoshida Hideo Minaba Call of Duty 3 Activison Treyarch Treyarch Treyarch Tom Clancy's Rainbow Six: Vegas Ubisoft Ubisoft Montreal Olivier Leonardi Jeffrey Giles Viva Piñata Microsoft Game Studios Rare Outstanding Achievement in Soundtrack MUSIC SUPERVISOR Guitar Hero 2 Activision/Red Octane Harmonix Eric Brosius SingStar Rocks! Sony Computer Entertainment SCE London Studio Alex Hackford & Sergio Pimentel FIFA 07 Electronic Arts Electronic Arts Canada Joe Nickolls Marc Ecko's Getting Up Atari The Collective Marc Ecko, Sean "Diddy" Combs Scarface Sierra Entertainment Radical Entertainment Sound Director: Rob Bridgett Outstanding Achievement in Original Music Composition COMPOSER Call of Duty 3 Activison Treyarch Joel Goldsmith LocoRoco Sony Computer -
The History of Video Game Music from a Production Perspective
Digital Worlds: The History of Video Game Music From a Production Perspective by Griffin Tyler A thesis submitted in partial fulfillment of the requirements for the degree, Bachelor in Arts Music The Colorado College April, 2021 Approved by ___________________________ Date __May 3, 2021_______ Prof. Ryan Banagale Approved by ___________________________ Date ___________________May 4, 2021 Prof. Iddo Aharony 1 Introduction In the modern era of technology and connectivity, one of the most interactive forms of personal entertainment is video games. While video games are arguably at the height of popularity amid the social restrictions of the current Covid-19 pandemic, this popularity did not pop up overnight. For the past four decades video games have been steadily rising in accessibility and usage, growing from a novelty arcade activity of the late 1970s and early 1980s to the globally shared entertainment experience of today. A remarkable study from 2014 by the Entertainment Software Association found that around 58% of Americans actively participate in some form of video game use, the average player is 30 years old and has been playing games for over 13 years. (Sweet, 2015) The reason for this popularity is no mystery, the gaming medium offers storytelling on an interactive level not possible in other forms of media, new friends to make with the addition of online social features, and new worlds to explore when one wishes to temporarily escape from the monotony of daily life. One important aspect of video game appeal and development is music. A good soundtrack can often be the difference between a successful game and one that falls into obscurity. -
The Functions of Music in Interactive Media
The Functions of Music in Interactive Media Axel Berndt and Knut Hartmann Department of Simulation and Graphics Otto-von-Guericke University of Magdeburg, Germany [email protected] University of Applied Science Flensburg, Germany [email protected] Abstract. The combination of music with interactive media enables new forms of expression, can expand the bandwidth of information flow by disencumbering and complementing the visual channel, and support the user/player in controlling and managing complex structures (e.g., in strategy games). Its associative power can be used to influence playing behaviour and decision processes. This, amongst others, educationally interesting potential lies idle! In this media theoretical and critical elaboration we intend to close the gap between music in static linear and non-linear interactive media. We will give a brief overview on media music perception, detail its historical development with regard to interactive media, elaborate and exemplify its narrative functions in order to widen the scope of the field where music meets interactivity. Key words: Interactive Media Music, Perception, History, Narration 1 Introduction Amongst all the arts, being interweaved by their cooperative coexistence in mul- timedia, music is one of the oldest and most frequently underestimated. In com- bination with image and sound it leads a nebulous shadowy existence, seemingly aimless or at least difficult to explain by terms like background music. Its tremen- dous importance only becomes apparent when taking it away, i.e., muting the music, and experiencing the disillusioning lack of this unconscious something [1]. What are the reasons for this difficulty of describing its value and even neces- sity in modern media? In Section 2 we will briefly introduce this special case of human perception of music that is performed in combination with other media. -
Mass Effect1+2
Mass Effect1+2 ------------------------------www.levelup.comAUTO 3-DIGIT 024 Joseph Smith PO Box 33298 465 Summer Street Boston, MA 02445 GOT A PENNY? Main Menu HIT THE ARCADE This Issues Character we go This Issues Old Versus over some of the biggest names hat’s right the Penny Arcade Expo is open for reg- New we go over the in Video game development. istration and pannel submissions. PAX is one of Mass Effect series is Tthe biggest video game expo’s in the United States it as good as we all and we are bringing it to you first. hope? The people PAX is a great way to see many of the gaming commu- nities biggest people.in the game industry. Shigeru Miya- moto has made multiple appearances. One of the biggest THE RANT: this issue Bombom attractions of PAX is seeing the presenting of new games, riffs on Dragon Age: origins talking with project directors and getting to see what’s in the works. In fact one of the important internet phenom- enons is Mounty Oum. A man who became famous from building and animating many famous video game charac- ters and creating amazing cinematic battle sequences. The Games PAX is without a doubt one of the best places to meet video game enthusiasts , and Indi Video Game Developers. That BGM has hunted down the is not to say that all PAX focuses on is video games. It also Today we go over gammer one ups to get the story and brings you into the realm of pen and paper if you allow it, girls and that dreadful maybe an extra life? that is right Table Top games. -
Ludo-Musicological Typologies: Examining New Ways of Classifying, Categorizing, and Organizing Music in Video Games: Annotated Bibliography
University of Denver Digital Commons @ DU Musicology and Ethnomusicology: Student Scholarship Musicology and Ethnomusicology 11-2020 Ludo-Musicological Typologies: Examining New Ways of Classifying, Categorizing, and Organizing Music in Video Games: Annotated Bibliography Nicholas Pierce Follow this and additional works at: https://digitalcommons.du.edu/musicology_student Part of the Musicology Commons This work is licensed under a Creative Commons Attribution 4.0 International License. Ludo-Musicological Typologies: Examining New Ways of Classifying, Categorizing, and Organizing Music in Video Games: Annotated Bibliography Ludo-musicological Typologies: Examining new ways of classifying, categorizing, and organizing music in video games Annotated Bibliography Over the past thirty years, music in video games has grown increasingly complex and sophisticated, with many composers specializing in this medium. Composers from other mediums like film and television (Danny Elfman, Hans Zimmer, and Michael Giachinno most notably) have also begun writing for video games, in addition to their other projects. Today, video game music incorporates elements from a wide variety of musical styles and genres, and utilizes diverse compositional techniques, some unique to the medium. However, an examination of scholarly literature on the subject (ludomusicology) reveals that this diversity and variety is not always reflected in the ways that video game music is categorized, classified, and organized. I hope to use these sources, among others, to re-organize video game music and the composers thereof, to help musicians and scholars more easily understand the rich canon of music that has been written for this medium. Collins, Karen. "Video games, Music in," Grove Music Online, ed. Deane L. Root. First published 25 May 2016, updated 25 November 2018. -
Chambers & Consoles
Washington Metropolitian The Washington MetropolitanGamer Gamer Symphony Orchestra presents ChambersSymphony & Consoles Small EnsembleOrchestra Showcase of Video Game Music Nov. 5, 2016 - Living Faith Lutheran Church, Rockville, MD Nov. 19, 2016 - BlackRock Center for the Arts, Germantown, MD The WMGSO is a community orchestra and choir whose mission is to share and celebrate video game music with as wide an audience as possible, primarily by putting on affordable, accessible concerts in the D.C. area. Game music weaves a complex melodic thread through the traditions, shared memories, values, and mythos of an entire international and intergenerational culture. WMGSO show- cases this music because it largely escapes recognition in professional circles. The result: classical music with a 21st-century twist, drawing non-gamers to the artistic merits of video game soundtracks, and attracting new audiences to orchestral concert halls. Board of Executives Staff Music Director Nigel Horne Choirmaster Jacob Coppage-Gross President Ayla Hurley Ensemble Manager Evan Schefstad Vice President Joseph Wang Music Librarian Zeynep Dilli Secretary Mimi Herrmann Assistant Treasurer Patricia Lesley Treasurer Chris Apple Small Ensemble Director Katie Noble Development Director Jessie Biele Stage Manager Emily Green Event Coordinator Emily Monahan Public Relations Director Melissa Apter Assistant Public Relations Mary Beck Living Faith Lutheran Church BlackRock Center for the Arts Living Faith Lutheran Church became Founded in 2002, BlackRock Center Rockville’s first Lutheran congregation in for the Arts is the leading performing and 1952. Living Faith is a welcoming, commu- visual arts venue in upper Montgom- nity-focused and growing congregation, pa- ery County. BlackRock provides the stored by the Rev. -
Kingsbane Playlist PART ONE 1. Hawthorne Abendsen – the Man In
Kingsbane Playlist PART ONE 1. Hawthorne Abendsen – The Man in the High Castle – Dominic Lewis 2. Rise Up – Winter’s Tale – Hans Zimmer, Rupert Gregson-Williams 3. Ham Wants Jane – Jane Got a Gun – Lisa Gerrard, Marcello De Francisci 4. Descending – The Handmaid’s Tale – Adam Taylor 5. Eptesicus – Batman Begins – James Newton Howard, Hans Zimmer 6. You’re Carrying His Child – The Huntsman: Winter’s War – James Newton Howard 7. Death Beneath the Horns – Da Vinci’s Demons – Bear McCreary 8. I’m Scared – The Mountain Between Us – Ramin Djawadi 9. A Bright Red Flash – 10 Cloverfield Lane – Bear McCreary 10. The Seer Gives Lagertha a Prophecy – The Vikings – Trevor Morris 11. Touch Nothing Else – Murder on the Orient Express – Patrick Doyle 12. Beneath the Ice – The Elder Scrolls V: Skyrim – Jeremy Soule 13. The Downfall – The Crown – Lorne Balfe, Rupert Gregson-Williams 14. The King of the Golden Hall – Lord of the Rings: The Two Towers – Howard Shore 15. Bounden Duty – The Crown – Lorne Balfe, Rupert Gregson-Williams 16. The Necklace – The Man in the High Castle – Dominic Lewis, Henry Jackman 17. Beyond the Hills – Logan – Marco Beltrami PART TWO 1. The Tide – Dunkirk – Hans Zimmer 2. See You for What You Are – Game of Thrones – Ramin Djawadi 3. Drifting in the Dark – The Cloverfield Paradox – Bear McCreary 4. Ofglen and Offred – The Handmaid’s Tale – Adam Taylor 5. The Letter – The Crown – Rupert Gregson-Williams 6. NJ Mart – World War Z – Marco Beltrami 7. The Mole – Dunkirk – Hans Zimmer 8. Little Deceptions – Penny Dreadful – Abel Korzeniowski 9. -
Music.PDF File
Fishbourne Primary School – Music Overview Our Ultimate end goal When our musicians leave us to move on to the next stage in their lives, we want them to feel confident that they have competent performing skills that will bring pleasure to others and to themselves, whether this be in a concert, or with Happy Birthday at a party, or carols round the Christmas tree or on a railway station piano. We would like them to be able to express different emotions through their own compositions, that they have the compositional skills and knowledge to be able to create music for different occasions and that they have something to say musically to the world. Lastly, we would like our musicians to be able to appreciate music of all genres, to feel that they have knowledge of a wide variety of these different genres and to have the confidence that they can give a competent comment on the musical content of different performances, whether live or recorded, that they might experience. Keystage One Mad T- Melody Stepwise movement Range Type of movement Does the melody rise or fall? Does the melody use a small range or a much wider range? Does the melody leap around or does it move stepwise? shirt Detailed description: “The melody falls then rises”, “The melody Is the melody range generally high or low If it leaps, are the jumps small or large? musical falls and rises repeatedly”. Does the range change throughout the melody? elements Articulation Dynamics Tempo Spikey and smooth ways of playing - with actions to Loud and soft - eg. -
DOSSIER DE PRESSE DATES Du 1Er Au 5 Novembre 2017
DOSSIER DE PRESSE DATES Du 1er au 5 novembre 2017 ADRESSE Parc des Expositions Paris Expo - Porte de Versailles, Paris Halls 1, 2.2 et 3 La Game Connection se tiendra du 1er au 3 novembre 2017, dans le Hall 2.1. HORAIRES D’OUVERTURE De 8h30 à 18h30. Fermeture à 18h dimanche 5 novembre. ORGANISATION SELL, Syndicat des Editeurs de Logiciels de Loisirs - www.sell.fr COMEXPOSIUM - www.comexposium.com NOMBRE D’EXPOSANTS 182 (221 co-exposants inclus) NOMBRE DE MARQUES REPRÉSENTÉES 221 SERVICE DE PRESSE Pré-ouverture presse mardi 31 octobre de 16h à minuit (sur invitation uniquement). Accès au salon pour les journalistes accrédités par le Hall 2.2 Porte V. Service de presse situé au Hall 2.2. Equipement : ordinateurs, Wi-Fi, rafraichissements. Informations presse (vidéo, photos, communiqués) disponibles sur www.parisgamesweek.com Nicolas Brodiez – 06 15 93 52 10 – [email protected] Presse & web : Jennifer Loison – 06 10 22 52 37 – [email protected] TV & radios : Mendrika Rabenjamina – 06 18 28 56 39 – [email protected] Presse spécialisée & accréditations : Titouan Coulon – 06 59 30 87 66 – [email protected] Anne Sophie Montadier – 06 27 55 06 64 – [email protected] 2 PLAN > PAGE 4 ÉDITORIAL > PAGE 6 RENCONTRE AVEC JULIE CHALMETTE, PRÉSIDENTE DU SELL PARIS GAMES WEEK > PAGE 7 LA CAPITALE A L’HEURE DU JEU VIDEO UNE INDUSTRIE RESPONSABLE > PAGE 9 SELL, PEGI, PEDAGOJEUX, RESPECT ZONE, WOMEN IN GAMES EN CHIFFRES > PAGE 15 TEMPS FORTS > PAGE 16 TENDANCES > PAGE 32 EXPOSANTS > PAGE 38 PRODUITS ET ACCESSOIRES > PAGE 65 NOUVEAUTÉS HARDWARE > PAGE 70 PARTENAIRES > PAGE 75 CONTACTS PRESSE EXPOSANTS > PAGE 79 CONTACTS PRESSE PARIS GAMES WEEK > PAGE 84 3 4 4 RENCONTRE AVEC Julie Chalmette, Présidente du SELL La Paris Games Week investit à nouveau la Porte de Versailles pour une 8ème édition toujours plus riche et divertissante. -
Gamers-Rhapsody-2016-Program
November 18-20 | MPLS Doubletree Park Place Official Seal Official Program #GRCON3 2016 Guests of Honor Emily Reese - All Weekend Emily Reese is a video game music specialist/expert/extraordinaire and Cat Enthusiast. As former host of Top Score™ for MPR, she interviewed dozens of video game music composers and groups to help expose video game music to the classical and greater world. Currently, she is busy with her new company called: Joon Media, Inc. A compa- ny, born in Minneapolis and dedicated to producing podcasts and videos for the world of digital maestros, including gamers, composers, students, and developers. Jeron Moore - Friday Only Jeron Moore is an American producer currently based in Portland, Oregon. He’s made a broad spectrum of contributions in the video game industry, ranging from video production to music direction, supervision and editing for companies including Nintendo, The Pokémon Company, Take Two Interactive, 2K Games, Human Head Studios, 3D Realms Enter- tainment, NC Soft, ArenaNet, Namco and Black Hole Games. Jeron also served as album producer on over 12 soundtrack albums for British Academy Award-winning composer Jeremy Soule, including highly acclaimed scores for the Guild Wars fran- chise, The Elder Scrolls III: Morrowind and The Elder Scrolls IV: Oblivion, Dungeon Siege 2, Supreme Commander, Prey, Order of War, IL-2 Sturmovik: Birds of Prey, and Gaia Interactive’s Monster Galaxy. In 2008, Jeron was brought on as producer for Play! A Video Game Sym- phony, a touring concert series featuring orchestral performances from video games. Jeron served as producer and lead creative on The Legend of Zelda 25th Anniversary Symphony in 2011, The Legend of Zelda: Symphony of the Goddesses world tour, and Pokémon: Symphonic Evolutions. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Music of World of Warcraft - Lore of Epic Music Permalink https://escholarship.org/uc/item/2xk8k2mx Author WERLE, Xavier Derrick Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Music of World of Warcraft Lore of Epic Music A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Xavier Derrick Werlé 2014 © Copyright by Xavier Derrick Werlé 2014 ABSTRACT OF THE DISSERTATION The Music of World of Warcraft Lore of Epic Music by Xavier Derrick Werlé Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair Abstract for Analytical Monograph: Epic role playing games such as the World of Warcraft are accompanied by epic music which intensifies the players' in-game experience and sensations. This raises the question: What makes music epic? No prior research has been done regarding video game music. There is a pressing need to conduct research that concentrates on the musical aspect of video games, because this music represents some of the most significant composition of our time. World of Warcraft is the first successful online epic video game with twelve million subscribers monthly at its peak in 2010. Since the original game was released on November 23rd, 2004, four expansions have been released and the music of World of Warcraft has evolved yet remains epic. This research will examine the particularity of composing music ii for the World of Warcraft, trace back the tradition of epic music, analyze the orchestral scores and original soundtracks, and dissect their harmony, counterpoint, instrumentation, orchestration, form and style.