Andrea Bernardo, Quando Il (Video)Gioco Si Fa Musica. Un Primo Approccio Ludomusicologico Ai Music Games

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Andrea Bernardo, Quando Il (Video)Gioco Si Fa Musica. Un Primo Approccio Ludomusicologico Ai Music Games Università di Pisa Dipartimento di Civiltà e Forme del Sapere Corso di Laurea in "Discipline dello Spettacolo e della Comunicazione" Classe L-3 a.a. 2015/2016 QUANDO IL (VIDEO)GIOCO SI FA MUSICA. UN PRIMO APPROCCIO LUDOMUSICOLOGICO AI MUSIC GAMES Candidato: Tutor: Andrea Bernardo Gabriella Ravenni 1 SOMMARIO Introduzione.............................................................................................................................4 I.Breve Storia dei Music Games..............................................................................................6 I.1. Preistoria dei Music Games...................................................................................6 I.2. La maturità e i principali generi dei videogiochi musicali..................................11 I.2.1. La genesi dei Rhythm Games................................................................11 I.2.2. Gli Action Music Games.......................................................................16 I.2.3. I Free Form Music Games....................................................................18 II. Teoria dei videogiochi musicali........................................................................................21 II.1. Premessa.............................................................................................................21 II.2. Definizione di Game..........................................................................................21 II.2.1. Le regole di gioco................................................................................21 II.2.2. Le forme di notazione musicale...........................................................24 II.2.3. Le periferiche di gioco.........................................................................26 II.2.4. I simulacri............................................................................................29 II.3. Definizione di Play.............................................................................................32 II.3.1. La classificazione dei suoni videoludici..............................................33 III. Questioni attuali del videogioco musicale.......................................................................36 III.1. Il videogioco musicale come educazione.........................................................36 III.1.1. Yousician............................................................................................36 III.1.2. Rocksmith..........................................................................................38 III.2. Il videogioco musicale come mezzo di promozione........................................40 III.2.1. Ascesa e declino di una software house: il caso Tapolous.................41 III.3. Il videogioco musicale come arte.....................................................................43 III.3.1. Brian Eno: Generative Music............................................................43 2 III.3.2. Björk: Biophilia................................................................................46 III.3.3. David Kanaga: Proteus.....................................................................51 Conclusione..........................................................................................................................55 Bibliografia...........................................................................................................................56 Ludografia............................................................................................................................58 Sitografia..............................................................................................................................61 3 INTRODUZIONE A dispetto di quanto si possa pensare, la performance musicale eseguita a partire da un'attività ludica non è affatto una cosa nuova, bensì un fenomeno culturale esistente già da tempo, dimostrato da alcuni casi come il katajjaq praticato dagli Esquimesi e l'opera K. 516f di Mozart;1 ciò nonostante, lo studio a livello musicologico delle forme ludico-musicali è cominciato solo recentemente, in special modo con la fondazione del Ludomusicology Research Group UK avvenuta nel 2011.2 Con il termine "Ludomusicologia", coniato dal ricercatore canadese Guillaume Laroche nel 2007,3 s'intende una branca della musicologia anglo-sassone che sfrutta, per l'analisi musicale, teorie e strumenti provenienti dai Game Studies «con il presupposto che la musica possa essere concepita come un gioco»,4 cercando di mettere in pratica le intuizioni pioneristiche dello storico olandese Johan Huizinga sulla musica come forma ludica.5 L'attuale stato dell'arte ludomusicologica è, in un'ottica più realistica di quella teorizzata da Huizinga, «l'approccio musicologico alla musica per videogiochi»6 e lo studio sistematico dei Music Games (da qui in poi usato come sinonimo dell'italiano "videogiochi musicali"), considerati dai ludomusicologi come nuove forme musicali. Con il termine videogioco musicale ci riferiamo solitamente a quel genere videoludico «dove la musica è il centro del gameplay»;7 se consideriamo che con gameplay intendiamo «l'esperienza d'interazione con un gioco»,8 il quadro sarà più chiaro: il videogioco 1NICOLE BEAUDRY, Musica e gioco: l'esempio degli autoctoni del Nord America in Enciclopedia della musica, vol. III, Musica e culture, a c. di JEAN-JACQUES NATTIEZ, Einaudi, Torino 2003, pp. 643 - 659. NEAL ZASLAW, Mozart's Modular Minuet Machine, in Essays in Honor of Làszlò Somfai on His 70th Birthday, ed. by LÀSZLO VIKÀRIUS - VERA LAMPERT, The Scarecrow Press, Lanham 2005, pp. 219 - 235. 2http://www.ludomusicology.org/. 3ROGER MOSELEY, Playing Games with Music (and Vice Versa): Ludomusicologial Perspectives on Guitar Hero and Rock Band, in Taking It to the bridge: Music as Performance, ed. by NICHOLAS COOK – RICHARD PETTENGILL, Ann Arbor: University of Michigan Press, s.l. 2012, p. 284. 4ID., Playing Games with Music 5JOHAN HUIZINGA, Homo Ludens, s.n.t. 1946 (traduzione italiana di CORINNA VAN SCHENDEL, Einaudi, Torino 1973 (2002) (Piccola Biblioteca Einaudi, 174)), pp. 186 - 193. 6http://www.ludomusicology.org/about/. 7DAVID THOMAS - KYLE ORLAND – SCOTT STEINBERG, The Video Game Style Guide and Reference Manual, ed. by SCOTT JONES – SHANA HERTZ, Power Play Publishing, s.l. 2007, p. 33, voce Gameplay. 8Ibidem. 4 musicale è un gioco in cui viene elaborata una performance musicale a partire dall'interazione dei giocatori con il sistema videoludico. Come avremo modo di approfondire più avanti, i Music Games si dividono in tre sottogeneri dotati di caratteristiche peculiari: i Rhythm Games (a loro volta delineati nei filoni simulativi e narrativi), gli Action Music Games e i Free Form Music Games.9 Il compito di questa tesi sarà quello di esporre un breve excursus sui videogiochi musicali da un punto di vista ludomusicologico, senza escludere un modesto contributo personale a riguardo: nel primo capitolo verrà trattata la storia del Music Game dalle sue origini negli anni '70 fino agli sviluppi più recenti, prendendo in esempio gli autori e i titoli più significativi; nel secondo capitolo attueremo una decostruzione del Music Game nelle sue componenti essenziali, che verrano analizzate una ad una sotto la lente delle principali teorie ludomusicologiche (senza escludere alcuni contributi italiani ai Game Studies), e in seguito ricomposte assieme in modo da definire il videogioco musicale nella sua interezza; infine, nel terzo capitolo, rifletteremo su alcune questioni inerenti le potenzialità offerte dal videogioco musicale, in particolar modo quelle educative, promozionali ed artistiche, avvalendoci dell'analisi di alcuni titoli di recente pubblicazione. Un'ultima precisazione: questa tesi deve essere considerata come un lavoro in fieri, non tanto perché la ludomusicologia è una disciplina accademica ancora in fase di sviluppo, quanto per il semplice fatto che si tratta, come riportato dal titolo, di un primo tentativo di messa in pratica di conoscenze ed esperienze personali maturate nel corso di questi ultimi anni. 9Terminologie mutuate da AGATA MENEGHELLI, Il risveglio dei sensi. Verso un'esperienza di gioco corporea, Unicopli, Milano 2011 (Ludologica, 15), p.157. 5 I. BREVE STORIA DEI VIDEOGIOCHI MUSICALI I.1. Preistoria dei Music Games Sebbene si tenda a considerare la fine del secolo scorso come il periodo in cui il videogioco musicale prende definitivamente piede, l'idea di sfruttare il linguaggio del videogioco come mezzo di realizzazione di una performance musicale è già presente a partire dagli anni '70, più o meno in contemporanea con la nascita dell'industria videoludica. Tradizionalmente viene considerato Touch Me (Atari, 1974) come l'inauguratore del Music Game. Realizzato da Ralph Baer,10 e concepito come cabinato arcade,11 Touch Me è composto da 4 pulsanti colorati corrispondenti a 4 note musicali diverse, è privo di schermata video (se escludiamo il led indicante il punteggio totalizzato), ma dotato di luci incorporate ai bottoni e alle scritte in sovrimpressione come feedback visivo; scopo del gioco è la memorizzazione di una sequenza crescente di note/colori proposta casualmente al giocatore, il quale ha solo 3 possibilità di errore pena l'inevitabile Game Over. Sebbene si tratti di un videogioco mnemonico, l'interazione gioco/giocatore produce una sorta di performance 10«Ralph Henry Baer (Rodalben 1922 – Manchester 2014), inventore ed ingegnere tedesco naturalizzato statunitense, noto nell'ambito videoludico per aver inventato e realizzato il Magnavox Odyssey,
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