Musikaliska Uttryck Och Funktioner I Interaktiva V Rldar

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Musikaliska Uttryck Och Funktioner I Interaktiva V Rldar Musikaliska uttryck och funktioner i interaktiva vrldar En underskning av musikanalytiska problemstllningar i det interaktiva mediet datorspel Katarina Glantz Magisteruppsats 2008 Institutionen fr musikvetenskap Uppsala universi tet Musikaliska uttryck och funktioner i interaktiva vrldar En underskning av musikanalytiska problemstllningar i det interaktiva mediet datorspel Katarina Glantz Magisteruppsats 2008 Institutionen fr musikvetenskap Uppsala universitet Handledare: Erik Kjellberg Abstract Katarina Glantz: Musikaliska uttryck och funktioner i interaktiva världar . En undersökning av musikanalytiska problemställningar i det interaktiva mediet datorspel . Uppsala universitet: Institutionen för musikvetenskap, uppsats för 100 p. 2008 This paper takes on the field of computer game music for the home computers Commodore 64, Amiga and PC. One chapter is devoted to the early pioneers in computer game music, but the main focus of the study have been to uncover the important functions music, sound, and sound effects, have for the understanding and experience of playing computer games. The issues discussed are: interactivity and game music, recurring musical functions in games, the relation of music and sound to the fictional game world, how an experimental attitude to sound became part of the compositional process on the Commodore 64 and Amiga, and lastly, how music and sound relates to the game becoming part of an audiovisual interpretation. My aim have been to incorporate all the audio aspects of computer games, to see how these relate to each other, as well as the game, where the analysis of computer game music becomes not an analysis of music by itself, but where the music analysis shows the player’s involvement with the game. ISSN 1102-6963 ISBN UU-MSU-SER-60-E Frord Redan för sex år sedan såddes ett frö till denna uppsats i och med en oskyldig julklapp av min far: en CD innehållandes en kompilation av diverse musikstycken från Amiga- och Commodore 64 spel, spel vilka jag spenderat åtskilligt med tid med under min uppväxt. Även efter att det inledande nostalgiska ruset lagt sig upptäckte jag att mitt intresse för denna musik och dessa spel egentligen bara tilltagit, där jag också snart fann mig lämplig programvara, olika musik- och spelemulatorer, allt som var nödvändigt för att åter kunna spela spelen och musiken på min PC. Vem har sagt att man måste sluta leka fastän man växt upp? Och med dessa händelser sattes också en tankeprocess igång hos mig, kring betydelsen av musiken för spelen, där frågorna snart kom att handla om ett brett spektrum av problem rörandes en analys av musik i datorspel. Resultatet av dessa funderingar kan ses i denna uppsats. Jag skulle vilja rikta ett stort tack till institutionen för musikvetenskap i Uppsala för det entydiga stöd man visat mig och denna uppsats, även när det drog ut på tiden. Ett särskilt tack går till min handledare Erik Kjellberg, men också till Karin Hallgren, Lars Berglund och Linus Johansson för litteraturtips och åtskilliga viktiga kommentarer på texten. Ytterligare ett tack går till en person som gett mig ständigt stöd och uppmuntran att kämpa vidare med arbetet: Karin Eriksson (som dessutom stått ut med att lyssna på en och annan vasst klingande SID-klassiker!). Stort tack till er alla! ^^ Sent tillkommen i arbetsprocessen, men väl så värdefull respons, har jag även fått av Andreas Wallström. Tack för hjälpen att finna uppsatsens faktamissar. Inneh(llsfrteckning Frord 1. Inledning .................................................................................................... sid 9 1.1 Musikens roll i datorspel, exemplifieringar ....................................................... sid 11 1.2 Syfte ................................................................................................................. sid 12 1.3 Metod och disposition ....................................................................................... sid 13 1.4 Material, urval och avgränsningsfrågor ............................................................. sid 15 1.5 Praktiska problem och källkritik ....................................................................... sid 18 1.6 Begreppsdiskussion .......................................................................................... sid 20 1.6.1 Video games, tv-spel, datorspel och spelmusik ......................................... sid 20 1.6.2 Interaktivitet ............................................................................................. sid 21 1.6.3 Datorspelsgenrer, en problematisering .................................................... sid 22 1.6.4 Freeware, abandonware och shareware ................................................... sid 25 1.7 Kunskapsläget .................................................................................................. sid 28 1.7.1 Forskningsläget ....................................................................................... sid 30 2. Snabba frndringar, datorspelsmediets utveckling under 1980-1990-talet: musiken, aktrerna och kulturen .......... sid 37 2.1 I begynnelsen: tv-spel och arkadspel ................................................................. sid 37 2.2 Commodore 64 intåg i hemmen ........................................................................ sid 38 2.2.1 SID-pionjärerna ...................................................................................... sid 39 2.3 Commodore Amiga - nya tekniska innovationer, samplingsteknik .................... sid 46 2.4 Konkurser och PC:n tar över hemdatormarkanden ............................................ sid 51 ¡ ¢ £ ¤ ¥ ¦ § ¨ § © ¥ ¤ ¦ § £ § ¨ ¥ ¨ § ¥ § ¤ © ¤ ¥ ........... sid 53 3.1 Interaktiva utmaningar ...................................................................................... sid 53 3.2 Musikens strukturella funktioner ....................................................................... sid 59 3.3 Spelvärldars fiktiva musik- och ljudrum............................................................ sid 66 3.4 Spelmusik som soundkompositioner ................................................................. sid 74 3.5 Den audiovisuella tolkningsprocessen ............................................................... sid 83 4. Sammanfattning: musikens funktion och uttryck i det interaktiva mediet datorspel ............................................................ sid 93 5. Slutord ...................................................................................................... sid 96 6. Appendix ................................................................................................... sid 97 Appendix I: ”The Golden Days of Computer Game Music” .................................... sid 97 Appendix II: “The Musicians’ Ball” ...................................................................... sid 105 7. Kll - och litteraturfrteckning ............................................. sid 111 8. Bilagor 1. Inledning I started looking at the games, and in the earliest games that where around in 1982 and - 83, most of the music was done by the programmer (the programmer did everything in those days) and some of the music was just absolutely, diabolical. I mean, it was just…it was embarrassing! It was like a drunken monkey on the piano trying to play the Blue Danube, or something. And, I thought, there has to be an opening for someone who can at least get the notes right, and in the correct order for God’s sake! 1 Den allra tidigaste datorspelsmusiken hade ofta låg ljudmässig eller musikalisk kvalité, spelades genom få ljudkanaler och gavs i regel ett minimalt utrymme i spelen. 2 Musiken var dock ett mycket viktigt inslag i spelupplevelsen, en bakomliggande orsak till datorspelskompositören Rob Hubbards frustration över musiksituationen i början av 1980- talet, som kan utläsas i citatet ovan. Detta kanske bidrog till hans involvering i datorspelsbranschen, där Hubbard kom att inta en central och tongivande ställning som datorspelskompositör på bl a Commodore 64 (C 64). 3 Väl använd kunde datorn förvandla binär kod till allt ifrån mullrande stenar och klingande diamanter 4, till, vilket framsidan av den här uppsatsen visar, rhythm ’n bluesgruppen The Blues Brothers, vilka här framträder på en rökig rymdbar på planeten Kerona i det tidiga äventyrsspelet Space Quest: Roger Wilco in The Sarien Encounter (1986) 5. Parodin på deras musik pressades fram genom PC-högtalarna, i en ljudkanal, till spelarens förtjusning och förskräckelse. Sedan 1986 har det skett en enorm utveckling inom datorspelsbranschen. Datorspelsmusiken har genomgått stora förändringar, såväl dess tekniska förutsättningar (och därmed ren ljudkvalité) som till musikens roll och funktion i datorspelen. Med den allt växande spelindustrin har även datorspelsmusiken flyttat fram ställningarna inom dagens kulturliv. Idag omsätter spelbranschen miljarder dollar och står i paritet med filmindustrin. 6 Datorspel är ett kulturfenomen som berör miljoner människor över hela världen, och visar på 1 Rob Hubbard under sitt öppningsanförande ”The Golden Days of Computer Game Music”, videoinspelat föredrag vid Assembly ’02 Game Development Seminars i Helsingfors 2002, videofil i författarens ägo, [08:43- 09:25]. 2 Intervju med Rob Hubbard av Matthew Vosburgh för Electronic Music Maker där han berättar att musiken vanligtvis, tillsammans med ljudeffekterna, tvingades in på ett så litet utrymme som 4-6 kilobyte [spel 40-50k], intervju postad på http://www.freenetpages.co.uk/hp/tcworh/int_elec.htm [2006-01-29]. 3 Rob
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