Difference between revisions of "Contextual Music"
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[[Music]] is frequently used to characterise specific contexts. These contexts may be regions in the scenario, levels, categories of circumstances, etc. | [[Music]] is frequently used to characterise specific contexts. These contexts may be regions in the scenario, levels, categories of circumstances, etc. | ||
| − | + | Designing [[Contextual Music]] is more prone to contribute to the fitness of [[Music]] in each particular moment along the experience, than a "global" game [[Music]] alone would. The succession of the pieces of [[Contextual Music]], as heard by the player, allows a transposition to the [[Music]] level of the global [[Emotional Script]] of the experience. | |
| − | [[Contextual Music]] may come from the game world itself ([[Diegetic Music]]) | + | [[Contextual Music]] may come from the game world itself ([[Diegetic Music]]) but that is not mandatory nor even the most frequent case. |
| + | Also, [[Contextual Music]] may be designed so that the [[Variety]] it propitiates contributes to a constantly renewed experience. | ||
| + | |||
| + | A particular type of contextual variations on [[Music]] that we are addressing separately is the change according to the current of involvement in the game's conflict. Those explorations are integrated in the explorations of [[Relaxation]], [[Anticipation]], [[Engagement]] and [[Decay]]. | ||
| examples= | | examples= | ||
| ex3=<mt p="ContextualMusic" g="Oblivion" h="140">Music depends on space and highly related to the kind of emotions those spaces have to offer. In this example the change in the [[Emotional Script]] is perceptible.</mt> | | ex3=<mt p="ContextualMusic" g="Oblivion" h="140">Music depends on space and highly related to the kind of emotions those spaces have to offer. In this example the change in the [[Emotional Script]] is perceptible.</mt> | ||
| ex1=<mt p="ContextualMusic" g="Flower" h="140">An exploration of [[Contextual Music]] in the [[Menus]], to unfold the [[Emotional Script]] along the experience. In the beginning of the game the [[Menus|Menu]] presents an [[Acoustic Ecology]] (predominantly [[Ambiance]]) allusive to a emotionally negative environment. As the game progresses, it becomes more positive and eventually it becomes highly rewarding, which also supports very effectively the inherent [[Narrative]].</mt> | | ex1=<mt p="ContextualMusic" g="Flower" h="140">An exploration of [[Contextual Music]] in the [[Menus]], to unfold the [[Emotional Script]] along the experience. In the beginning of the game the [[Menus|Menu]] presents an [[Acoustic Ecology]] (predominantly [[Ambiance]]) allusive to a emotionally negative environment. As the game progresses, it becomes more positive and eventually it becomes highly rewarding, which also supports very effectively the inherent [[Narrative]].</mt> | ||
| − | | ex2=<mt p="Music" g="LocoRoco" altg="Loco Roco" i="2" h="140">The contextuality of [[Music]] is impressive. It depends not only on the level but also on the selected type of Loco Roco (they are 6 and can be chosen in any level). Also, [[Music]] is adapted to the acoustics of the space (e.g., reverberation inside an ice cave). Even more interestingly, the more the Loco Roco the more the singing voices, which impacts considerably in the [[Emotional Script]]. The [[Variety]] provided by all this contextuality | + | | ex2=<mt p="Music" g="LocoRoco" altg="Loco Roco" i="2" h="140">The contextuality of [[Music]] is impressive. It depends not only on the level but also on the selected type of Loco Roco (they are 6 and can be chosen in any level). Also, [[Music]] is adapted to the acoustics of the space (e.g., reverberation inside an ice cave). Even more interestingly, the more the Loco Roco the more the singing voices, which impacts considerably in the [[Emotional Script]]. The [[Variety]] provided by all this contextuality propitiates a constantly renewed experience.</mt> |
| ex4=<mt p="ContextualMusic" g="Ocarina Of Time" altg="Ocarina of Time" h="188">Music is dependent on the map region.</mt> | | ex4=<mt p="ContextualMusic" g="Ocarina Of Time" altg="Ocarina of Time" h="188">Music is dependent on the map region.</mt> | ||
}} | }} | ||
Revision as of 03:01, 19 August 2011
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| The card's front face | The card's back face |
Contents
Synopsis
| Music specific to particular contexts or levels. |
Relationships
Contexts:
Narrative 
, Emotional Script 
.
May relate to:
Diegetic Music 
.
Makes use of:
Music 
.
Description
Music is frequently used to characterise specific contexts. These contexts may be regions in the scenario, levels, categories of circumstances, etc.
Designing Contextual Music is more prone to contribute to the fitness of Music in each particular moment along the experience, than a "global" game Music alone would. The succession of the pieces of Contextual Music, as heard by the player, allows a transposition to the Music level of the global Emotional Script of the experience.
Contextual Music may come from the game world itself (Diegetic Music) but that is not mandatory nor even the most frequent case.
Also, Contextual Music may be designed so that the Variety it propitiates contributes to a constantly renewed experience.
A particular type of contextual variations on Music that we are addressing separately is the change according to the current of involvement in the game's conflict. Those explorations are integrated in the explorations of Relaxation, Anticipation, Engagement and Decay.
Examples
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