This book presents an overview of the emerging field of emotion in videogame soundtracking. The emotional impact of music has been well-documented, particularly when used to enhance the impact of a multimodal experience, such as combining images with audio as found in the videogames industry. Soundtracking videogames presents a unique challenge compared to traditional composition (for example film music) in that the narrative of gameplay is non-linear – Player dependent actions can change the narrative and thus the emotional characteristics required in the soundtrack. Historical approaches to emotion measurement, and the musical feature mapping and music selection that might be used in video game soundtracking are outlined, before a series of cutting edge examples are given. These examples include algorithmic composition techniques, automated emotion matching from biosensors, motion capture techniques, emotionally-targeted speech synthesis and signal processing, and automated repurposing of existing music (for example from a players own library). The book concludes with some possibilities for the future.
Video game music has been permeating popular culture for over forty years. Now, reaching billions of listeners, game music encompasses a diverse spectrum of musical materials and practices. This book provides a comprehensive, up-to-date survey of video game music by a diverse group of scholars and industry professionals. The chapters and summaries consolidate existing knowledge and present tools for readers to engage with the music in new ways. Many popular games are analysed, including Super Mario Galaxy, Bastion, The Last of Us, Kentucky Route Zero and the Katamari, Gran Turismo and Tales series. Topics include chiptunes, compositional processes, localization, history and game music concerts. The book also engages with other disciplines such as psychology, music analysis, business strategy and critical theory, and will prove an equally valuable resource for readers active in the industry, composers or designers, and music students and scholars.
Encyclopedia of Computer Graphics and Games (ECGG) is a unique reference resource tailored to meet the needs of research and applications for industry professionals and academic communities worldwide. The ECGG covers the history, technologies, and trends of computer graphics and games. Editor Newton Lee, Institute for Education, Research, and Scholarships, Los Angeles, CA, USA Academic Co-Chairs Shlomo Dubnov, Department of Music and Computer Science and Engineering, University of California San Diego, San Diego, CA, USA Patrick C. K. Hung, University of Ontario Institute of Technology, Oshawa, ON, Canada Jaci Lee Lederman, Vincennes University, Vincennes, IN, USA Industry Co-Chairs Shuichi Kurabayashi, Cygames, Inc. & Keio University, Kanagawa, Japan Xiaomao Wu, Gritworld GmbH, Frankfurt am Main, Hessen, Germany Editorial Board Members Leigh Achterbosch, School of Science, Engineering, IT and Physical Sciences, Federation University Australia Mt Helen, Ballarat, VIC, Australia Ramazan S. Aygun, Department of Computer Science, Kennesaw State University, Marietta, GA, USA Barbaros Bostan, BUG Game Lab, Bahçeşehir University (BAU), Istanbul, Turkey Anthony L. Brooks, Aalborg University, Aalborg, Denmark Guven Catak, BUG Game Lab, Bahçeşehir University (BAU), Istanbul, Turkey Alvin Kok Chuen Chan, Cambridge Corporate University, Lucerne, Switzerland Anirban Chowdhury, Department of User Experience and Interaction Design, School of Design (SoD), University of Petroleum and Energy Studies (UPES), Dehradun, Uttarakhand, India Saverio Debernardis, Dipartimento di Meccanica, Matematica e Management, Politecnico di Bari, Bari, Italy Abdennour El Rhalibi, Liverpool John Moores University, Liverpool, UK Stefano Ferretti, Department of Computer Science and Engineering, University of Bologna, Bologna, Italy Han Hu, School of Information and Electronics, Beijing Institute of Technology, Beijing, China Ms. Susan Johnston, Select Services Films Inc., Los Angeles, CA, USA Chris Joslin, Carleton University, Ottawa, Canada Sicilia Ferreira Judice, Department of Computer Science, University of Calgary, Calgary, Canada Hoshang Kolivand, Department Computer Science, Faculty of Engineering and Technology, Liverpool John Moores University, Liverpool, UK Dario Maggiorini, Department of Computer Science, University of Milan, Milan, Italy Tim McGraw, Purdue University, West Lafayette, IN, USA George Papagiannakis, ORamaVR S.A., Heraklion, Greece; FORTH-ICS, Heraklion Greece University of Crete, Heraklion, Greece Florian Richoux, Nantes Atlantic Computer Science Laboratory (LINA), Université de Nantes, Nantes, France Andrea Sanna, Dipartimento di Automatica e Informatica, Politecnico di Torino, Turin, Italy Yann Savoye, Institut fur Informatik, Innsbruck University, Innsbruck, Austria Sercan Şengün, Wonsook Kim School of Art, Illinois State University, Normal, IL, USA Ruck Thawonmas, Ritsumeikan University, Shiga, Japan Vinesh Thiruchelvam, Asia Pacific University of Technology & Innovation, Kuala Lumpur, Malaysia Rojin Vishkaie, Amazon, Seattle, WA, USA Duncan A. H. Williams, Digital Creativity Labs, Department of Computer Science, University of York, York, UK Sai-Keung Wong, National Chiao Tung University, Hsinchu, Taiwan Editorial Board Intern Sam Romershausen, Vincennes University, Vincennes, IN, USA
From the one-bit beeps of Pong to the 3D audio of PlayStation 5, this book examines historical trends in video game sound and music. A range of game systems sold in North America, Europe and Japan are evaluated by their audio capabilities and industry competition. Technical fine points are explored, including synthesized v. sampled sound, pre-recorded v. dynamic audio, backward compatibility, discrete and multifunctional soundchips, storage media, audio programming documentation, and analog v. digital outputs. A timeline chronicles significant developments in video game sound for PC, NES, Dreamcast, Xbox, Wii, Game Boy, PSP, iOS and Android devices and many others.
Music in the Role-Playing Game: Heroes & Harmonies offers the first scholarly approach focusing on music in the broad class of video games known as role-playing games, or RPGs. Known for their narrative sophistication and long playtimes, RPGs have long been celebrated by players for the quality of their cinematic musical scores, which have taken on a life of their own, drawing large audiences to live orchestral performances. The chapters in this volume address the role of music in popular RPGs such as Final Fantasy and World of Warcraft, delving into how music interacts with the gaming environment to shape players’ perceptions and engagement. The contributors apply a range of methodologies to the study of music in this genre, exploring topics such as genre conventions around music, differences between music in Japanese and Western role-playing games, cultural representation, nostalgia, and how music can shape deeply personal game experiences. Music in the Role-Playing Game expands the growing field of studies of music in video games, detailing the considerable role that music plays in this modern storytelling medium, and breaking new ground in considering the role of genre. Combining deep analysis with accessible personal accounts of authors’ experiences as players, it will be of interest to students and scholars of music, gaming, and media studies.
Innovation in Music: Technology and Creativity is a groundbreaking collection bringing together contributions from instructors, researchers, and professionals. Split into two sections, covering composition and performance, and technology and innovation, this volume offers truly international perspectives on ever-evolving practices. Including chapters on audience interaction, dynamic music methods, AI, and live electronic performances, this is recommended reading for professionals, students, and researchers looking for global insights into the fields of music production, music business, and music technology.
The three-volume set CCIS 1419, CCIS 1420, and CCIS 1421 contains the extended abstracts of the posters presented during the 23rd International Conference on Human-Computer Interaction, HCII 2021, which was held virtually in July 2021. The total of 1276 papers and 241 posters included in the 39 HCII 2021 proceedings volumes was carefully reviewed and selected from 5222 submissions. The posters presented in these three volumes are organized in topical sections as follows: Part I: HCI theory and methods; perceptual, cognitive and psychophisiological aspects of interaction; designing for children; designing for older people; design case studies; dimensions of user experience; information, language, culture and media. Part II: interaction methods and techniques; eye-tracking and facial expressions recognition; human-robot interaction; virtual, augmented and mixed reality; security and privacy issues in HCI; AI and machine learning in HCI. Part III: interacting and learning; interacting and playing; interacting and driving; digital wellbeing, eHealth and mHealth; interacting and shopping; HCI, safety and sustainability; HCI in the time of pandemic.
This book gathers a selection of peer-reviewed papers presented at the 4th Big Data Analytics for Cyber-Physical System in Smart City (BDCPS 2022) conference, held in Bangkok, Thailand, on December 16–17. The contributions, prepared by an international team of scientists and engineers, cover the latest advances and challenges made in the field of big data analytics methods and approaches for the data-driven co-design of communication, computing, and control for smart cities. Given its scope, it offers a valuable resource for all researchers and professionals interested in big data, smart cities, and cyber-physical systems.
30 Jahre nachdem Félix Guattari den Begriff des Postmassenmedialen als notwendige Bedingung medialer Teilhabe eingeführt hat, wirkt er weiterhin in den Arbeiten nachfolgender Generationen nach. Dass ein Konzept, das auf politisches Geschehen und technische Entwicklungen bis hin zur Zäsur von 1989 reagiert, noch heute den wissenschaftlichen Nachwuchs beschäftigt, ist jedoch nicht selbstverständlich. Diese Ausgabe der AugenBlick, die im Umfeld der DFG-Forscher:innengruppe Mediale Teilhabe entstanden ist, unterstreicht die Notwendigkeit, aufmerksam die sich wandelnden Formen politischer und künstlerischer Partizipation im sogenannten "postmedialen Zeitalter" zu betrachten. Die hier versammelten Beiträge formulieren dabei keine Medientheorie der Ermöglichung von Teilhabe. Viel eher tritt das Postmassenmediale selbst als eine Frage der Teilhabe hervor, die in sich medial begriffen werden muss. Dieser Rahmen erlaubt es, das Postmassenmediale in unserer gegenwärtigen techno-politischen Situation zu verorten. So tritt es uns in Arbeiten zu Videospielen, dokumentarischen Projekten, YouTube, Ästhetik und Ethik des Politischen und in Meditationen zur Pandemie entgegen
