Book contents
- The Cambridge Companion to Video Game Music
- Cambridge Companions to Music
- The Cambridge Companion to Video Game Music
- Copyright page
- Contents
- Figures
- Tables
- Musical Examples
- Contributors
- Preface
- A Landmark Timeline of Video Game Music
- Foreword: The Collaborative Art of Game Music
- Introduction
- Part I Chiptunes
- Part II Creating and Programming Game Music
- 4 Building Relationships: The Process of Creating Game Music
- 5 The Inherent Conflicts of Musical Interactivity in Video Games
- 6 The Triple Lock of Synchronization
- 7 ‘Less Music, Now!’ New Contextual Approaches to Video Game Scoring
- 8 Composing for Independent Games: The Music of Kentucky Route Zero
- Part III Analytical Approaches to Video Game Music
- Part IV Realities, Perception and Psychology
- Part V Game Music, Contexts and Identities
- Part VI Beyond the Game
- 24 Producing Game Music Concerts
- Select Bibliography
- Index
4 - Building Relationships: The Process of Creating Game Music
from Part II - Creating and Programming Game Music
Published online by Cambridge University Press: 15 April 2021
- The Cambridge Companion to Video Game Music
- Cambridge Companions to Music
- The Cambridge Companion to Video Game Music
- Copyright page
- Contents
- Figures
- Tables
- Musical Examples
- Contributors
- Preface
- A Landmark Timeline of Video Game Music
- Foreword: The Collaborative Art of Game Music
- Introduction
- Part I Chiptunes
- Part II Creating and Programming Game Music
- 4 Building Relationships: The Process of Creating Game Music
- 5 The Inherent Conflicts of Musical Interactivity in Video Games
- 6 The Triple Lock of Synchronization
- 7 ‘Less Music, Now!’ New Contextual Approaches to Video Game Scoring
- 8 Composing for Independent Games: The Music of Kentucky Route Zero
- Part III Analytical Approaches to Video Game Music
- Part IV Realities, Perception and Psychology
- Part V Game Music, Contexts and Identities
- Part VI Beyond the Game
- 24 Producing Game Music Concerts
- Select Bibliography
- Index
Summary
Even more than writing music for film, composing for video games is founded on the principle of interactive relationships. Of course, interactivity is particularly obvious when games use dynamic music systems to allow music to respond to the players. But it is also reflected more generally in the collaborative nature of game music production and the way that composers produce music to involve players as active participants, rather than simply as passive audience members. This chapter will outline the process of creating video game music from the perspective of the composer. The aim is not to provide a definitive model of game music production that applies for all possible situations. Instead, this chapter will characterize the processes and phases of production that a game composer will likely encounter while working on a project, and highlight some of the factors in play at each stage.
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- Information
- The Cambridge Companion to Video Game Music , pp. 64 - 73Publisher: Cambridge University PressPrint publication year: 2021