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Use of Progressive Rock in David Wise's Soundtrack for Donkey Kong
Use of Progressive Rock in David Wise’s Soundtrack for Donkey Kong Country and the Advancement of Video Game Music Brooke Spencer Professor Stephanie Lind MUSC501 3 March 2019 Introduction In 1994, Nintendo released the Super Nintendo game: Donkey Kong Country (DKC)– resulting in widespread popularity and new innovative use of music in gameplay. Through the utilization of prog-rock in David Wise’s soundtrack for DKC, Nintendo has expanded its range of musical styles, function, and status as a top contending videogame company. The use of prog-rock can be broken down in David Wise’s three pieces: “Treetop Rock”, “Fear Factory”, and “Aquatic Ambience”. Through elements of prog-rock seen in each of these pieces - harmonic prolongation, fragmentation, distortion, and use of the concept ‘meta- chord’ – we can see that DKC’s music was unlike anything Nintendo had been creating previously, and set expectations for music in videogames to come. History Starting in 1977-78, the video game industry began to rise in popularity through arcades. In the 1960s/1970s when first-generation home consoles were created, sound was not a possibility. It was only when Pong was released on the Atari home console in 1975 that sounds were used deliberately: the game had 3 different sounds coinciding with actions on screen: the ball hitting the wall, the paddle, and a sound for player failure. Most games included sound in future releases to increase profits after Pong’s success.1 By the end of the 70s, arcades were growing in popularity, with Nintendo a primary arcade console producer. -
Newsletter 17/12 (Nr
ISSN 1610-2606 ISSN 1610-2606 newsletterDIGITAL EDITION Nr. 321 - 17/12November 2012 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 17/12 (Nr. 321) November 2012 editorial DIE WAND: Martina Gedeck und Julian Roman Pölsler Hallo Laserdisc- und DVD-Fans, versprochen so gibt es ab Seite 10 len wir eine Stippvisite in unserem liebe Filmfreunde! den persönlichen Rückblick unseres YouTube-Kanal, der zwei neue Pro- Film-Bloggers auf das diesjährige duktionen bereithält, deren Stars Herzlich willkommen zur neuesten Fantasy Filmfest. Ganz aktuell wie Sie bereits auf dieser Seite sehen Ausgabe unseres Newsletters, der immer auch der Film-Blog ab Seite können. Wie immer wünschen wir zugegebenermaßen mit etwas Ver- 3, der Sie mit vielen neuen Kino- viel Spaß beim Lesen und Schauen! spätung an den Start geht, dafür filmen bekannt machen wird. Und aber randvoll mit Infos steckt. Wie alles beginnt wie immer auf Seite 2. Ihr Laser Hotline Team Dort spricht Anna einmal mehr mit Hollywood und unterhält sich über das – Wetter! Und wem das alles noch nicht genug ist, dem empfeh- G GNADE: Jürgen VogelG GNADE: Matthias Glasner LASER HOTLINE Seite 2 Newsletter 17/12 (Nr. 321) November 2012 November Blues November. Der Winter ist offiziell da. Passend zur Jahreszeit und über seine Trauer, dass der Herbst vorbei ist, nicht gibt es nur ein Thema: das Wetter. Zu kalt, zu nass, zu wenig hinwegkommt, dem sei The Trouble with Harry empfohlen. -
Limitations in Early Video Game Music and Their Aesthetic Impact Think
Limitations in Early Video Game Music and Their Aesthetic Impact View the audio examples given throughout this paper in this accompanying Youtube Playlist: https://bit.ly/2IzqdmX Think back to the first time you picked up a video game controller. You may remember the graphics or art style of that game, a favorite character, or that one level that you were stuck on for hours on end. Along with these memories, it’s quite likely that you thought of the infectious melodies that accompanied your virtual adventures. Undoubtedly, video game music is one of the most memorable and essential parts of this medium that we hold so dear. It is important to note, however, that many of these soundtracks which we recall so fondly were made in the presence of technological challenges. The composers of video game music for the home consoles of the late 1980s and 90s overcame the limitations of these early systems by viewing what on the surface appeared to be constraints as challenges that would guide and enhance their creativity rather than control and restrict it. The choices made to combat or circumvent these technological limitations took place primarily in the areas of organization and timbre. It is in these areas that the limitations faced by early video game music composers have had a lasting influence on the aesthetic choices of contemporary video game composers, and as a result — the modern landscape of video game music. Before we can properly identify how technological limitations have influenced the development of video game music, it is necessary to establish the context in which these limitations were faced. -
1547748067247.Pdf
The Legend of Neil Jump Ver. 0.2 !!/7+E9O+N4T1 The last thing Neil remembers he was drunk playing a game of Zelda when he whipped out his member and he masturbated to the fairy in the game because she was kinda hot then he asphyxiated himself with the Nintento game controller and that somehow transported him into the game~! Oh! But you’re not Neil. You’re some kind of multiverse traveling badass. Whether you’re stuck in a different game of Zelda, or in the one with Neil, you should know this isn’t the fantasy world you’re used to. It’s dangerous to go alone. At the same time, you probably don’t want to hang out with most of the people in this world. Anyway, take this: +1000 CP Background No matter which you choose, you’re going to start in the game. Each background gets ½ off their associated Perks and Treasures. Loser You’re a regular dude (or dudette). You can choose whether or not this comes with background memories of an uninspiring life. Good Elf Elves come in two varieties. Normal elves, and “white” or “forest Hyrulians”, if you want to be politically correct. The ebony-skinned city dwellers often claim to have many white elf friends, and admire the whites for their skill at dancing and sports. And would certainly have no problems with one seeking to rescue and marry their sister. Did you know there’s even integrated companies in Hyrule’s military now? Progressive! Truly, elf racism is over forever. -
Area Comunicazioni
Area Comunicazioni Rapporto di ricerca Lo scenario della produzione e distribuzione di web‐series Tassonomia dell’offerta, contenuti e linguaggi, la distribuzione e il ruolo dei broadcaster, i festival per Rai – Direzione Marketing Report definitivo 11 febbraio 2013 Via del Quirinale 26, 00187 Roma Tel. 06.4740746 Fax 06.4746549 www.i‐com.it info@i‐com.it 2 Lo scenario della produzione e distribuzione di web‐series Tassonomia dell’offerta, contenuti e linguaggi, la distribuzione e il ruolo dei broadcaster, i festival PROGETTO DI RICERCA PER RAI – DIREZIONE MARKETING ICOM – ISTITUTO PER LA COMPETITIVITA’ – AREA COMUNICAZIONE AUTORI: GIOVANNI GANGEMI, ANDREA MARZULLI, BRUNO ZAMBARDINO 3 SOMMARIO 0. Premessa: oggetto, obiettivi e metodologia della ricerca 0.1. Oggetto della ricerca 0.2. Scenario di riferimento 0.3. Contenuti generali della ricerca 0.4 Tassonomia delle web series 1. STATI UNITI 1.0. Premessa 1.1. Cenni sui principali trend del mercato 1.2. Generi e sottogeneri 1.3. Stagioni 1.4. Durata e pezzatura 1.5. Una panoramica su produzione e distribuzione 1.6. Il ruolo dei broadcaster e delle major 1.7. Alcuni dati sulle performance 1.8. Premi e festival 1.9. Le web series serie selezionate per il focus 2. REGNO UNITO 2.0. Premessa 2.1. Cenni sui principali trend del mercato 2.2. Generi e sottogeneri 2.3. Stagioni 2.4. Durata e pezzatura 2.5. Una panoramica su produzione e distribuzione 2.6. Il ruolo dei broadcaster 2.7. Alcuni dati sulle performance 2.8. Premi e festival 2.9. Le web series selezionate per il focus 3. -
The Producers, American Dad, Emmett Otter And
The Fastest Growing DVD, CD and Blu-ray Retail Catalog Connecting Content with Consumers Volume 8 Issue 21 Our studio Blu-ray expansion of new and remastered classics continues to dominate the Holiday release opportunities for our retailers. Looking at the quality of titles and production from the majors along with significant impactful films coming in from our independent studios lends credence to a very strong Holiday DVD and BD sales period. We are confident the AV MOD catalog rewards physical media collectors with the broadest choices of titles with 100% in stock availability, making our AV retailers responsive and successful. This week, we welcome Blue Water Entertainment to our Studio catalog and encourage you to enjoy their film with its accompanying soundtrack CD featuring an all star music selection. Best of success to you! Richard Skillman Vice President Allied Vaughn [email protected] http://www.alliedvaughn.com AV Entertainment Studio Brochure AV Entertainment Gallery Title Library AV Entertainment Newsletter Archives SONY Brings Maniac, Emmett Otter and more to Blu-ray for the Holidays! 12/18/2018 043396553231 Emmet Otter's Jug-Band Christmas [Blu-ray] BD-25 1977 When a Christmas Eve talent contest is announced, Emmet Otter TM joins a jug band and his Ma decides to sing a song. But Emmet will have to put a hole in Mas washtub to make a bass! And Ma will have to hawk Emmets tool chest to buy herself a costume! Should Emmet and Ma risk all they have to make each others dreams come true? Narrated by Kermit TM and based on the book by Russell and Lillian Hoban, EMMET OTTERS JUG-BAND CHRISTMAS will put a song in your heart! Includes both the original 1.33 and new 1.78 presentaions of the film. -
Wesleyan University the Sound of Hyrule: The
Wesleyan ¨ University The Sound of Hyrule: The Relationships among Sonic Environments and Gameplay in The Legend of Zelda: Breath of the Wild By Emily A. Boyer Faculty Advisor: Dr. Kate Galloway A Dissertation submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts Middletown, Connecticut May 2018 ii TABLE OF CONTENTS LIST OF FIGURES .................................................................................................. iv ACKNOWLEDGEMENTS ...................................................................................... vi ABSTRACT ........................................................................................................... viii INTRODUCTION ................................................................................................... 1 Overview of the Field ............................................................................................ 2 Project Outline....................................................................................................... 5 Ethnographic Methodology.................................................................................... 7 Methodology – Game Journaling ........................................................................... 8 Methodology – Google Forms ............................................................................... 9 The Legend of Zelda (1986) ................................................................................. 13 Ocarina of Time (1998) ...................................................................................... -
Musical Memory of the Player, Characters, and World of the Legend of Zelda Video Game Series
MUSICAL MEMORY OF THE PLAYER, CHARACTERS, AND WORLD OF THE LEGEND OF ZELDA VIDEO GAME SERIES Sarah Teetsel A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2015 Committee: Kara Attrep, Advisor Alexa Woloshyn © 2015 Sarah Teetsel All Rights Reserved iii ABSTRACT Kara Attrep, Advisor In 1986, Nintendo released a role-playing game in America known as The Legend of Zelda, which has since become a world-wide gaming sensation. A unique game element to the series is the use of musical instruments and in 1998, the Nintendo game makers brought the musical material to the forefront in The Legend of Zelda: Ocarina of Time. For the first time in The Legend of Zelda series, players were required to remember short tunes in order to complete the game. The memory and skill of the main character, and thus the player, expands over the course of the game, resulting in the use of the ocarina to travel forward in time to save the world. In 2002, The Legend of Zelda: The Wind Waker was released, with the main character acquiring a baton to conduct musical works for individuals as well as for the world at large, once again in the quest to save the world from evil. Using the theoretical framework described by Bob Snyder in his book, Music and Memory, I will utilize the three types of memory that Snyder identifies in his study to examine the musical world of The Legend of Zelda. -
Narrative Integration in 16-Bit Video Game Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace PRESS START: NARRATIVE INTEGRATION IN 16-BIT VIDEO GAME MUSIC A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC By JUSTIN DANIEL SEXTRO B.M. Truman State University, 2012 Kansas City, Missouri 2015 ii PRESS START: NARRATIVE INTEGRATION IN 16-BIT VIDEO GAME MUSIC Justin Daniel Sextro, Master of Music University of Missouri-Kansas City, 2015 ABSTRACT Ever since Pong graced the screens of video arcades, one of the most influential interactions between technology and sound has been the video game console. Over the past decade, scholars have begun to recognize this interaction with the steady growth of scholarship on video game sound; however, one group of games, that of the 16-bit generation, has been overlooked. The 16-bit era, roughly spanning from 1988 to 1996, was a period of transition and innovation for the medium. The purpose of this research is to identify the elements of narrative integration of 16-bit video game music. To explore these elements, several games from the 16-bit era are examined. The first chapters discuss the common elements of narrative integration, including musical cohesion, identification, mood evocation, and musical codes. The last half of this research is devoted to in-depth discussion of five games; first, the story-driven genre, the Role Playing Game, is represented by Chrono Trigger and Earthbound. The final chapter gives context to the 16-bit era by looking at three games from The Legend of Zelda series. -
Dragon*Con Gaming Guide
Dragon*Con Gaming Guide August 31–September 3, 2012 Atlanta, Georgia TABLE OF CONTENTS Gaming Introducation/Schedule .......................................................................... 3 MechCorps at Dragon*Con ................................................................................. 4 Sunmesa Events ............................................................................................... 4 Team Trivia at Dragon*Con ................................................................................. 4 Settlers of Catan Worldwide Championship Qualifier ............................................. 4 Board Gaming .................................................................................................. 5 Collectible Card Games (CCG) ............................................................................ 8 Digital Gaming ................................................................................................ 14 Gaming Programiming ..................................................................................... 16 Live Action Role Playing (LARP) ....................................................................... 18 Miniatures ...................................................................................................... 21 Online Gaming (MMORPGs) ............................................................................. 26 Role Playing Games (Campaign) ....................................................................... 29 Campaign RPGs Grid ................................................................................. -
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The Amabie: an auspicious yokai, first documented in 1846. A govern- ment official investigating a strange green light in the water in the former Higo province (now Kumamoto prefecture) discovered... ...a glowing creature with fishy 2 ! scales, long hair, three fin-like legs, Gaylord Rockies4 and a beak emerging from the sea... The Amabie made a prediction: a pandemic was coming that would Resort & Convention Center ravage the country. The yokai then instructed, September 3-5, 2021 “Draw Me and show me to everyone, and Aurora, CO I will protect you from disease.” What?! ザ ー ザ ー ザ ー Do your part! Help Amabie! masks are required Maintain Social Distance Wash Your Hands Frequently The Pandemic Situation will continue to change after print dates Current convention COVID information at: ndkdenver.org/covid/ WELCOME Welcome to the 24th year of Nan Desu Kan! elcome Back to NDK! It feels like Important an eternity since we were able to be W together. The past two years have notes! brought so many changes to the world, both to us personally and to us as an organization. The time New Hotel, New apart from you has made us all realize how much Rules! Make sure having NDK means to us. It isn’t just a convention. to check out our It’s a place where people come together and show updated rules, so we their love for their common interests. It’s a place of can all make a good belonging where it’s safe to be you, no matter how impression on NDK’s you identify, or where you come from. -
Oblivion (PC) Cheat Codes, Hints, and Help Page 2 of 5
The Elder Scrolls 4: Oblivion (PC) cheat codes, hints, and help Page 2 of 5 get quest items and you cannot drop them. You will 4.4 100% Chameleon-like effect be stuck doing different quests. Also if you pick up a 4.5 Dancing brush jar lot of items the game will lag when you go to where 4.6 Floating paintbrushes you dropped everything. 4.7 Main quest Aaron Stoelb 4.8 Mace Of Death 5 More... No bounty When you have a bounty, enter third person mode, select yourself, then enter payfinethief as a code. Joe Moose Gull Video Main quests Fighter's Guild quests Dark Brotherhood Guild quests Mages Guild quests Thieves Guild quests Arena battles Hints Locations Skills Actions Vampirism Combat Quests Items Glitches Unlimited gold http://www.gamewinners.com/Cheats/index.php/The_Elder_Scrolls_4:_Oblivion_(PC) 6/26/2009 The Elder Scrolls 4: Oblivion (PC) cheat codes, hints, and help Page 3 of 5 For the quest to cure vampirism, the Count Of Skingrad asks you find a cure for his wife because she does not want to be a vampire. After meeting with a witch who lives along a river to the east, she has you find five Grand Soul Gems, two Bloodgrass, six Garlic, five Nightshade, Blood Of An Argonian, and Dust Of A Vampire. She then uses these to make a two potions; one for the count and one for you. Upon giving it to the count, he will give you a reward of 500 gold. Talk to him again and select "Reward".