Difference between revisions of "Music"
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[[Music]] is the most widely used of the [[Sound Layers and Semantics]] in game design, particularly in not so recent games. More recent games and complex games, tend to include Music in a complex [[Acoustic Ecology]] that also includes a sophisticated [[Ambiance]] and abundant [[Foley]]. Still, the extent of these explorations is highly dependent on the characteristics of the game. | [[Music]] is the most widely used of the [[Sound Layers and Semantics]] in game design, particularly in not so recent games. More recent games and complex games, tend to include Music in a complex [[Acoustic Ecology]] that also includes a sophisticated [[Ambiance]] and abundant [[Foley]]. Still, the extent of these explorations is highly dependent on the characteristics of the game. | ||
| − | It is argued that the use of [[Music]] in games is strongly influenced by the practice in cinema and by the fact that many sound designers work and were educated in that industry [http://www.example.com pending ref]. There is also extensive discussion about the limitations of Music in games, considering differences such as interactivity, variable duration of scenes, potential unpredictability, etc [http://www.example.com 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 [http://www.example.com 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, potential unpredictability, etc [http://www.example.com 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. | |
| + | Some games exhibit [[Contextual Music]], which depends on space and/or level and/or gameplay. | ||
| + | | Additional= | ||
| + | [pending: add links to the specificities of Music in games, namely when compared to film music] | ||
}} | }} | ||
Revision as of 14:32, 13 August 2011
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| The card's front face | The card's back face |
Contents
Synopsis
| All kinds of music heard during the game. |
Relationships
Many contexts, including:
Sound Layers and Semantics File:M385px-SoundLayersAndSemantics-front-v20.png, Entrainment 
, Relaxation 
, Anticipation 
, Engagement 
, Decay 
, Emotional Script 
, Trance 
, Narrative 
, Window of Opportunity 
, Diegetic Music 
, Contextual Music 
, Musical Outcome 
, Signature 
, ....
Peers:
Ambiance 
, Foley 
, Sound Effects 
, Dialogue 
.
calls for:
Requisite Variety File:M385px-RequisiteVariety-front-v20.png, Acoustic Ecology 
.
Description
Music is the most widely used of the Sound Layers and Semantics in game design, particularly in not so recent games. More recent games and complex games, tend to include Music in a complex Acoustic Ecology that also includes a sophisticated Ambiance and abundant Foley. Still, the extent of these explorations is highly dependent on the characteristics of the game.
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, 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.
Some games exhibit Contextual Music, which depends on space and/or level and/or gameplay.
Examples
