Music - Revision history

ValterAlves at 03:00, 26 August 2012

2012-08-26T03:00:51Z

2012-08-26T02:31:59Z

2012-07-19T16:58:45Z

2012-07-19T16:24:45Z

2012-07-19T15:00:42Z

2012-05-25T02:29:38Z

2012-05-25T01:09:09Z

2012-05-24T23:01:39Z

2012-05-24T13:15:21Z

2012-05-24T13:13:21Z

@@ Line 29: / Line 29: @@
 [[Music]] is a major tool in the design of all the typical phases of gameplay: [[Relaxation]], [[Anticipation]], [[Engagement]] and [[Decay]].
-It is argued that the use of [[Music]] in games is still strongly influenced by the practice in cinema and by the fact that many sound designers work and were educated in that industry  [pending:e.g., ref]. There is also extensive discussion about the limitations of cinema-like [[Music]] in games, considering differences such as interactivity, variable duration of scenes, possible long periods of exposition (that demand [[Variety]]),  potential unpredictability, etc. [pending: ref].
+It is argued that the use of [[Music]] in games is still strongly influenced by the practice in cinema and by the fact that many sound designers work and were educated in that industry  [pending: ref]. There is also extensive discussion about the limitations of cinema-like [[Music]] in games, considering differences such as interactivity, variable duration of scenes, possible long periods of exposition (that demand [[Variety]]),  potential unpredictability, etc. [pending:e.g., ref].
 [[Music]], as field, has historically developed and refined many techniques that have proven to tackle human emotions. Examples are the use of [[Entrainment]] to influence the [[Emotional Script]] or reach [[Trance]], by progressively changing tempo and dynamics.

@@ Line 29: / Line 29: @@
 [[Music]] is a major tool in the design of all the typical phases of gameplay: [[Relaxation]], [[Anticipation]], [[Engagement]] and [[Decay]].
-It is argued that the use of [[Music]] in games is still strongly influenced by the practice in cinema and by the fact that many sound designers work and were educated in that industry  [pending: ref]. There is also extensive discussion about the limitations of cinema-like [[Music]] in games, considering differences such as interactivity, variable duration of scenes, possible long periods of exposition (that demand [[Variety]]),  potential unpredictability, etc. [pending: ref].
+It is argued that the use of [[Music]] in games is still strongly influenced by the practice in cinema and by the fact that many sound designers work and were educated in that industry  [pending:e.g., ref]. There is also extensive discussion about the limitations of cinema-like [[Music]] in games, considering differences such as interactivity, variable duration of scenes, possible long periods of exposition (that demand [[Variety]]),  potential unpredictability, etc. [pending: ref].
 [[Music]], as field, has historically developed and refined many techniques that have proven to tackle human emotions. Examples are the use of [[Entrainment]] to influence the [[Emotional Script]] or reach [[Trance]], by progressively changing tempo and dynamics.

@@ Line 44: / Line 44: @@
 | ex3=<mt p="Music" g="LocoRoco" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex4=<mt p="Music" g="Tomb Raider Underworld" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex5=<mt p="Music" g="Uncharted 2" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex5=<mt p="Music" g="Uncharted 2" altg="Uncharted 2: Among Thieves" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex6=<mt p="Music" g="The Path" w="{{R32by17W}}" h="{{R32by17H}}"></mt>
 | ex7=<mt p="Music" g="Chaos Theory" altg="Tom Clancy's Splinter Cell Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>

@@ Line 46: / Line 46: @@
 | ex5=<mt p="Music" g="Uncharted 2" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex6=<mt p="Music" g="The Path" w="{{R32by17W}}" h="{{R32by17H}}"></mt>
-| ex7=<mt p="Music" g="Chaos Theory" altg="Tom Clancy's Splinter Cell: Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
+| ex7=<mt p="Music" g="Chaos Theory" altg="Tom Clancy's Splinter Cell Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
 | ex8=<mt p="Music" g="Half Life 2" altg="Half-Life 2" w="{{R8by5W}}" h="{{R8by5H}}">[[Music]] prepares and supports the haste of a fight.</mt>
 | ex9=<mt p="Music" g="Deadly Premonition" w="{{R16by9W}}" h="{{R16by9H}}"></mt>

@@ Line 51: / Line 51: @@
 | ex10=<mt p="Music" g="Ice Age 3" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>
 | ex11=<mt p="Music" g="PBWinterbottom" altg="The Misadventures of P.B. Winterbottom" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex12=<mt p="Music" g="Halo" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex12=<mt p="Music" g="Halo" altg="Halo: Reach" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 <!--| ex12=<mt p="Music" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>-->

@@ Line 40: / Line 40: @@
 [pending: add links to the specificities of [[Music]] in games, namely when compared to film music]
 | examples=
-| ex1=<mt p="Music" g="Portal" w="{{R8by5W}}" h="{{R8by5H}}">The song "Still Alive" performed by GLaDOS's [[Voice Acting|Voice Actor]] has been highly praised. The song is heard in the end of the game, though a 'peppy' instrumental version can be heard during the gameplay in scattered [[Radio]]s. The lyrics contain aspects contributing (or adding) to the [[Narrative]].</mt>
+| ex1=<mt p="Music" g="Portal" w="{{R8by5W}}" h="{{R8by5H}}">The song "Still Alive" performed by GLaDOS's [[Voice Acting|Voice Actor]] has been highly praised. The song is heard in the end of the game, though a "peppy" instrumental version can be heard during the gameplay in scattered [[Radio]]s. The lyrics contain aspects contributing (or adding) to the [[Narrative]].</mt>
 | ex2=<mt p="Music" g="Everyday Shooter" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex3=<mt p="Music" g="LocoRoco" w="{{R16by9W}}" h="{{R16by9H}}"></mt>

@@ Line 55: / Line 55: @@
 <!--| ex12=<mt p="Music" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>-->
 |external=
- <ref name="Juslin"><ref name="Collins2008a"><ref name="Whalen2004"/><ref name="WhartonCollins2011"/>
+ <ref name="Juslin"/><ref name="Collins2008a"/><ref name="Whalen2004"/><ref name="WhartonCollins2011"/>
 |showrefs=1
 }}