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Universidad Distrital Francisco José De Caldas Facultad De Artes Asab Proyecto Curricular De Artes Musicales

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Universidad Distrital Francisco José De Caldas Facultad De Artes Asab Proyecto Curricular De Artes Musicales UNIVERSIDAD DISTRITAL FRANCISCO JOSÉ DE CALDAS FACULTAD DE ARTES ASAB PROYECTO CURRICULAR DE ARTES MUSICALES MÚSICA PARA VIDEOJUEGOS DEL GÉNERO SURVIVOR HORROR PROPUESTA DE SONORIZACION Y COMPOSICION DE LA MÚSICA PARA EL TRAILER DEL VIDEOJUEGO OUTLAST MÓNICA PAOLA VEGA SUÁREZ COD: 20102098035 ENFÁSIS COMPOSICIÓN Y ARREGLOS DIRECTOR DE TRABAJO DE GRADO GUSTAVO LARA PAZ MODALIDAD CREACIÓN O INTERPRETACIÓN BOGOTÁ D.C. OCTUBRE DE 2017 RESUMEN Este trabajo es un acercamiento al tipo de sonorización que puede ser empleado en un videojuego del género Survivor Horror teniendo como objetivo la realización de una propuesta sonora para el video del tráiler oficial del videojuego OUTLAST. En la primera parte, se hace un acercamiento a las generalidades que envuelve la música para videojuegos, hablando de los aspectos técnicos y teóricos que se utilizan en la sonorización y de cómo la música teniendo en cuenta la direccionalidad emotiva, interactúa para resaltar ciertas situaciones que el género plantea. La segunda parte hace un acercamiento al género Survivor Horror mediante el análisis de la banda sonora del videojuego Silent Hill y la sonorización empleada en este, con el objetivo de encontrar ejemplos de los recursos musicales y sonoros empleados y resaltados en videojuegos de este género, tomando como referente de análisis el aspecto psicológico y la direccionalidad emotiva. Esta parte incluye una encuesta realizada a personas que jugaron el videojuego IB -que hace parte del género Survivor Horror-, y de su experiencia a nivel musical en la interacción con este. Para concluir, se elabora una propuesta sonora que incluye la composición musical para el video del tráiler del videojuego OUTLAST desarrollado por RED BARRELS. Palabras clave. Música para videojuegos. Análisis musical Survivor Horror. Música Silent Hill. Música y aspecto psicológico. Survivor Horror. Direccionalidad emotiva. ABSTRACT This work is an approach to the type of soundtrack that can be used in a video game of the genre Survivor Horror with the objective of developing a soundtrack proposal for the video of the official trailer of the video game OUTLAST. In the first part, an approach is made to the generalities involved in videogame music, focusing on the technical and theoretical aspects that are used when adding soundtrack and how music, considering the emotional directionality, interacts to highlight certain situations that gender poses. The second part makes an approach to the genre Survivor Horror by analyzing the soundtrack of the video game Silent Hill and the soundtrack used in it, for the purpose of finding examples of the musical and sound resources used and highlighted in video games of this genre, taking the psychological aspect and emotional directionality as a reference of analysis. This part includes a survey of people who playing the video game IB - also a Survivor Horror game-, and their experience regarding the music. To conclude, a soundtrack proposal is elaborated that includes a musical composition for the video of the video game trailer OUTLAST developed by RED BARRELS. Keywords. Videogame music Survival Horror musical analysis. Silent Hill music. Music and psychological aspect. Survivor Horror. Emotional directionality. DEDICATORIA …El presente escrito quiero dedicarlo a toda mi familia. a mí padre -Alirio vega- y madre –Isabel Suárez- que fueron la base y pilar en mi formación profesional, por su colaboración, consejos, oportunidad, sabiduría, confianza y recursos para lograrlo. …A mis hermanas y su respectiva descendencia: Nidia Vega –La mayor-, por su voz y creencia en mi talento. Mylena Vega –La que le sigue a la mayor-, por su asombro ante mi composición. Anaïs, por la corrección del abstract y las noches de mejores amigas por siempre. Juan Diego y Ángel David –por sus sustos y huidas, al ver al gordito sabrosón cuando rescatamos OUTLAST… A angélica balda por estar presente y atenta, por su constante paciencia, apoyo y amor a lo largo, especialmente, en la recta final de mi trabajo. A Camilo Medina, compañero de banda, por su experiencia y destreza en la edición y masterización de sonido. A mis verdaderos amigos que escuchaban… “ella va sin mí”, ”estoy en el 90%”, “hablemos de otra cosa”, “la termino en dos semanas”, “estoy definiendo unos términos”. ante la pregunta ¿cómo va la tesis? …A todos y cada uno de ellos/ellas desde mi corazón les quiero brindar mi más sincera y profunda gratitud… MÚSICA PARA VIDEOJUEGOS DEL GÉNERO SURVIVOR HORROR PROPUESTA DE SONORIZACION Y COMPOSICION DE LA MÚSICA PARA EL TRAILER DEL VIDEOJUEGO OUTLAST TABLA DE CONTENIDO 1. PRÓLOGO ............................................................................................................................. 1 1.1. PERCEPCIÓN SOBRE EL ANÁLISIS MUSICAL .......................................................................... 1 1.1.1. ANÁLISIS Y RECURSOS EXTRAÍDOS A PARTIR DE LA PERCECPCIÓN SOBRE LA BANDA SONORA DE SILENT HILL ..................................................................................................................................... 1 1.2. ARQUETIPOS ESTABLECIDOS POR EL CINE ............................................................................ 2 1.3. CINE Y CONEXIÓN CON EL PÚBLICO ..................................................................................... 2 1.4. MÚSICA Y EMOCIÓN ........................................................................................................... 3 1.5. SONORIDADES EN EL GÉNERO TERROR O SUSPENSO ............................................................ 4 1.6. VALOR AÑADIDO POR LA MÚSICA. ...................................................................................... 6 1.7. DIRECCIONALIDAD EMOTIVA. GENERADORA DE EMOCIONES .............................................. 8 1.8. DEFINIENDO EL ASPECTO PSICOLÓGICO DE LA ESCENA ......................................................... 9 2. INTRODUCCIÓN .................................................................................................................. 12 3. PLANTEAMIENTO DEL PROBLEMA ....................................................................................... 13 3.1. ANTECEDENTES ................................................................................................................ 13 3.2. JUSTIFICACIÓN ................................................................................................................. 14 3.3. PREGUNTA DE INVESTIGACIÓN ......................................................................................... 16 3.3.1. OBJETIVO GENERAL ................................................................................................................. 16 3.3.2. OBJETIVOS ESPECÍFICOS .......................................................................................................... 16 4. METODOLOGÍA ................................................................................................................... 17 5. CAPITULO I: REFERENTES CONCEPTUALES Y TEÓRICOS USADOS EN LA SONORIZACIÓN PARA VIDEOJUEGOS ........................................................................................................................ 19 5.1. MÚSICA INTERACTIVA ...................................................................................................... 19 5.2. MÚSICA E IMAGEN: EL PRINCIPIO DE TODO. DENTRO DEL CAMPO AUDIOVISUAL ...... 20 5.2.1. TIPOS DE ESCUCHA .................................................................................................................. 20 5.2.2. VALOR AÑADIDO ..................................................................................................................... 21 5.2.3. TIPOS DE MÚSICA: EXTRADIEGÉTICA, DIEGÉTICA, COMO MODO DE JUEGO ........................... 22 5.3. SONORIZACIÓN. RELACIÓN Y RECURSOS ENTRE LA IMAGEN Y EL SONIDO ........................... 29 5.3.1. SINCRONIZACIÓN .................................................................................................................... 29 5.3.2. SÍNCRESIS ................................................................................................................................. 29 5.3.3. SILENCIO .................................................................................................................................. 30 5.3.4. LEIT MOTIV .............................................................................................................................. 31 5.3.5. BUCLE – LOOPS ........................................................................................................................ 31 5.4. TIPOS DE SONIDO QUE SE ENCUENTRAN EN UNA ESCENA .................................................. 31 5.4.1. SONIDO AMBIENTE O SONIDO DE TERRITORIO ....................................................................... 31 5.4.2. ELEMENTOS DE DECORADO SONORO ..................................................................................... 32 5.4.3. SONIDO DE UN OBJETO ESPECÍFICO ........................................................................................ 32 5.5. DISEÑADORES DE SONIDO. MANIPULACIÓN Y CREACIÓN DE EFECTOS DE AUDIO. ............... 33 5.6. CATEGORÍA DE EFECTOS ................................................................................................... 33 5.6.1. EFECTOS DE DINÁMICA. -CONTROLA LA AMPLITUD- ..................................................................... 34 5.6.2. EFECTOS DE RETARDO. -CONTROLA LAS CUALIDADES DE PROPAGACIÓN– ......................................... 34 5.6.3.
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