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Marcos De Lima E Mello UNIVERSIDADE FEDERAL DE MINAS GERAIS Programa de Pós-Graduação em Música Marcos de Lima e Mello TRILHA SONORA EM JOGOS DIGITAIS: uma análise histórica, funcional e suas relações com a música no cinema Belo Horizonte, MG 2018 Marcos de Lima e Mello TRILHA SONORA EM JOGOS DIGITAIS: uma análise histórica, funcional e suas relações com a música no cinema Dissertação apresentada ao Programa De Pós-Graduação em Música da Universidade Federal de Minas Gerais como requisito para a obtenção do título de Mestre em Música. Linha de pesquisa: Processos Analíticos e Criativos Orientador: Dr. João Pedro Paiva de Oliveira Belo Horizonte, MG 2018 AGRADECIMENTOS Aqui deixo registrado meu agradecimento a todas as pessoas e instituições que contribuíram, em alguma medida, para que este trabalho pudesse se tornar realidade: - Ao professor João Pedro pela paciência e por proporcionar sempre uma orientação clara e precisa durante o processo. Suas assistências direcionais foram essenciais para o rumo que a pesquisa tomou. - À Barbara Barbosa pela presença e enorme incentivo, no qual me deu força e capacidade para chegar até o fim. - Ao professor Rogério Vasconcelos por ter me direcionado com excelentes sugestões na qualificação do projeto. - Às autoras Karen Collins e Winifred Phillips pelas quais sem elas a conclusão desta pesquisa simplesmente não seria possível da maneira que se estabeleceu. Graças aos seus livros grande parte das questões levantadas nesta dissertação foram sanadas. - À Fundação de Amparo à Pesquisa de MG (FAPEMIG) por me dar a oportunidade de poder me dedicar inteiramente ao projeto. - À Escola de música da UFMG, em especial ao departamento de pós-graduação e ao funcionário Alan Antunes, que durante todo o processo esteve sempre presente me auxiliando e sanando todas as dúvidas. - À minha mãe Elaine de Mello que por décadas me incentivou a trilhar pelo universo da música para que eu sempre pudesse evoluir nesta área. - Ao professor Gibran Zorkot que deu todo seu esforço e dedicação para que eu pudesse seguir profissionalmente na carreira musical. - À compositora Saria Lemes por me apresentar ao universo do chiptune na prática. - À toda comunidade de compositores de trilhas sonoras para jogos digitais, que estão sempre buscando formas de evoluir seus trabalhos. - Ao Levy Oliveira por todo o apoio e aconselhamentos dados. - A Deus por abrir as portas para que eu pudesse alcançar meus objetivos. “O ingrediente crítico é arregaçar as mangas e fazer algo. É tão simples quanto isso. Um monte de pessoas tem ideias, mas existem poucas que decidem fazer algo em relação a elas agora. Não amanhã. Não na semana que vem. Mas hoje. O verdadeiro empreendedor é um realizador.” Nolan Bushnell – Fundador da Atari RESUMO Esta dissertação propõe-se investigar as principais características da trilha sonora de jogos digitais. Apresenta-se uma análise da sua evolução histórica, seus compositores mais influentes, assim como sua evolução funcional. São também detalhados alguns pontos importantes relativos à sua função no auxílio da interação, imersão e narrativa. Este conhecimento inicial serve como base de informação para a pesquisa conclusiva deste trabalho, que procura estabelecer uma comparação entre a trilha sonora de jogos digitais e a de cinema, apontando características comuns e especificidades de cada uma delas. Palavras-chave: Trilha sonora. Jogos digitais. Cinema. Função musical. Música interativa. Música imersiva. Técnicas composicionais. Análise. ABSTRACT This dissertation proposes to investigate the main characteristics of the soundtrack of digital games. It presents an analysis of its historical evolution, its most influential composers, as well as its functional evolution. Some important points concerning its role in the aid of interaction, immersion and narrative are also detailed. This initial information is the base for the subsequent research, which seeks to establish a comparison between the soundtrack of digital games and cinema, pointing out common characteristics, as well as their specificities. Keywords: Soundtrack. Video games. Movies. Musical function. Interactive music. Immersive music. Compositional techniques. Analyze. SUMÁRIO INTRODUÇÃO .......................................................................................................... 15 CAPÍTULO 1 – EVOLUÇÃO HISTÓRICA DA TRILHA SONORA NOS JOGOS DIGITAIS ................................................................................................................... 24 1.1 A influência da ópera na trilha sonora e seus primórdios no cinema ............................ 24 1.2 A evolução da trilha sonora nos consoles ...................................................................... 28 1.3 Compositores importantes na trilha sonora de jogos digitais ........................................ 47 CAPÍTULO 2 – EVOLUÇÃO FUNCIONAL DA TRILHA SONORA NOS JOGOS DIGITAIS ................................................................................................................... 52 2.1 Função da trilha sonora nos jogos digitais ...................................................................... 52 2.2 Música interativa ............................................................................................................ 57 2.2.1 Interação pela técnica composicional ...................................................................... 62 2.2.2 Interação funcional .................................................................................................. 65 2.2.3 Interação em outros parâmetros ............................................................................. 67 2.3 Imersão ........................................................................................................................... 71 2.3.1 Comprometimento ................................................................................................... 74 2.3.2 Absorção ................................................................................................................... 77 2.3.3 Imersão total ............................................................................................................ 79 2.4 Narrativa ......................................................................................................................... 81 CAPÍTULO 3 – COMPARAÇÕES ENTRE OS JOGOS DIGITAIS E O CINEMA ..... 84 3.1 Porquê estudar esta comparação ................................................................................... 84 3.2 Comparações históricas .................................................................................................. 84 3.3 Comparações funcionais ................................................................................................. 88 3.3.1 Reforço à dramaticidade / imersão ......................................................................... 89 3.3.2 Ambientar e contextualizar o cenário / narrativa .................................................... 90 3.3.3 Interatividade ........................................................................................................... 92 3.4 Comparações composicionais ......................................................................................... 94 3.4.1 Comparações nas técnicas composicionais ............................................................. 94 3.5 Comparações de instrumentação ................................................................................. 102 3.5.1 Comparações entre organizações instrumentais / timbrísticas ............................ 102 3.5.2 Comparações temáticas: ........................................................................................ 104 3.6 Junção dos jogos digitais com o cinema ....................................................................... 110 3.6.1 Junção de compositores ......................................................................................... 110 3.6.2 Jogos como filmes e filmes como jogos ................................................................. 111 3.7 Comparações extramusicais ......................................................................................... 112 CONCLUSÕES FINAIS .......................................................................................... 115 REFERÊNCIAS BIBLIOGRÁFICAS ....................................................................... 118 LISTA DE FIGURAS Figura 1 - Os primeiros álbuns contendo trilha sonora original ................................. 27 Figura 2 - Space Invader, captura de imagem do modelo arcade ............................. 29 Figura 3 - Rally X, captura de imagem do modelo arcade ........................................ 30 Figura 4 - Pong e Magnavox Odyssey - primeira geração de consoles .................... 30 Figura 5 - Atari 2600 (VCS) - principal console da segunda geração de consoles.... 31 Figura 6 - Arcade do jogo Donkey Kong produzido pela Nintendo ............................ 33 Figura 7 - NES e Master System ............................................................................... 33 Figura 8 - Super Nintendo e Sega Mega Drive.......................................................... 36 Figura 9 - Sega CD - expansão do Mega Drive para leitura de CD-ROM ................. 39 Figura 10 - Protótipo do SNES CD ............................................................................ 39 Figura 11 - Sony PlayStation, Nintendo 64, e Sega Saturn ....................................... 41 Figura 12 - Sega Dreamcast, Sony PlayStation 2, Nintendo Game Cube, e Microsoft Xbox .........................................................................................................................
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