Sie sind bereits eingeloggt. Klicken Sie auf 2. tolino select Abo, um fortzufahren.
Bitte loggen Sie sich zunächst in Ihr Kundenkonto ein oder registrieren Sie sich bei bücher.de, um das eBook-Abo tolino select nutzen zu können.
The music and sounds of video games have become an inescapable part of our world. Not only do these sonic elements profoundly shape the experiences of billions of players every day, but also the soundscapes of games have stretched out from our living rooms to encompass spaces as diverse as pinball arcades, concert halls, museums, and classrooms across the globe. Research on game music and sound is equally diverse-a vibrant, innovative, and multifaceted field that incorporates approaches from media studies, musicology, sound studies, music theory, psychology, and more. Drawing on the expertise…mehr
The music and sounds of video games have become an inescapable part of our world. Not only do these sonic elements profoundly shape the experiences of billions of players every day, but also the soundscapes of games have stretched out from our living rooms to encompass spaces as diverse as pinball arcades, concert halls, museums, and classrooms across the globe. Research on game music and sound is equally diverse-a vibrant, innovative, and multifaceted field that incorporates approaches from media studies, musicology, sound studies, music theory, psychology, and more. Drawing on the expertise of leading scholars and practitioners from around the globe, The Oxford Handbook of Video Game Music and Sound features nearly 50 chapters on topics ranging from the earliest pinball machines to the latest in virtual reality technology. The resulting volume provides both a comprehensive introduction to the study of game audio and an indispensable resource for experts.
Dieser Download kann aus rechtlichen Gründen nur mit Rechnungsadresse in A, B, BG, CY, CZ, D, DK, EW, E, FIN, F, GR, HR, H, IRL, I, LT, L, LR, M, NL, PL, P, R, S, SLO, SK ausgeliefert werden.
William Gibbons is Dean of the Crane School of Music at SUNY Potsdam, where he also holds the rank of Professor of Music History. Prior to joining SUNY Potsdam, he was Associate Professor of Musicology and Associate Dean of the College of Fine Arts at Texas Christian University. He earned a BA in Music from Emory & Henry College, and MA and PhD degrees in Musicology from the University of North Carolina at Chapel Hill. Mark Grimshaw-Aagaard is the Obel Professor of Music at Aalborg University, Denmark. He has published widely across subjects as diverse as sound, biofeedback in computer games, virtuality, the Uncanny Valley, presence/immersion, ultrasound, and IT systems. Mark is series editor for the series Palgrave Studies in Sound, and his books include the anthologies Game Sound Technology & Player Interaction (2011), The Oxford Handbook of Virtuality (2014), The Oxford Handbook of Sound & Imagination (2019), and the co-authored monographs Sonic Virtuality (2015) and The Recording, Mixing, & Mastering Reference Handbook (2019).
Inhaltsangabe
* Contributor Affiliations * Acknowledgments * Introduction * SECTION 1: DISCIPLINARY QUESTIONS * 1. Video Game Musicology in Practice: Fifteen Awkward Questions * Tim Summers * 2. Ode to Joysticks: Canonic Fantasies and the "Beethoven of Video Game Music" * William Gibbons * 3. Crossing the Ludo-Cinematic Continuum: Music-Theoretical Approaches to Video Game Music * Sean Atkinson * 4. Ludomusical Narrativity: Sound and Music as Structures of Play * Julianne Grasso * 5. A Creative System in Action: Bringing Video Game Music and Sound into Being * Phillip McIntyre and J.T. Velikovsky * SECTION 2: HISTORY AND TECHNOLOGY * 6. A History of Early U.S. Pinball Sound, 1871-1939 * Neil Lerner * 7. Selling Play through Music and Sound: Audiovisual Promotion for Early Consoles, Home Computers, and Games to 1983 * James Deaville * 8. Hard Limitations and Soft Possibilities: A "Systematic" History of Early Video Game Sound Technology * Kevin R. Burke * 9. Visualizing Music with Video Game Technologies * Jonathan Weinel * 10. Onna no jidai: Women and Video Game Sound in 1980s Japan * Brooke McCorkle Okazaki * 11. Surviving the Game: Published Soundtracks as Archives * Fanny Rebillard * 12. Symbolic Music and Algorithmic Composing: Computer Archaeological Perspectives on BASIC Game Sounds * Stefan Höltgen * SECTION 3: PERCEPTION AND PSYCHOLOGY * 13. Ambiguity and Vagueness in Video Game Sound * Mark Grimshaw-Aagaard * 14. A Functional Approach to the Psychology of Video Game Sound * Tom A. Garner * 15. How Video Game Music Plays Us: Musical Topics, Modularity, and Compulsion Loops * William R. Ayers * 16. Auditory Hallucinations and Altered States of Consciousness in Video Games * Jonathan Weinel * SECTION 4: INTERACTING ACROSS MEDIA * 17. Music and Sound in Early Film-to-Game Adaptations * William O'Hara * 18. Sound, Extended Reality, and the Cinematic-Interactive Dichotomy * Tom A. Garner * 19. Game Noir: The Functions of Jazz in the Detective Adventure Video Game * Jacob Collins * 20. Synergy and Syncs: Record Labels, Video Games, and Unending Consumption * David Arditi * 21. Playground Disco: Playing with Clubs and Aspects of Club Culture in Digital Games * Melanie Fritsch * SECTION 5: IDENTITY * 22. Beyond Nerdcore: Hip-Hop, Race, and the Business of Gamer-Rap * Enongo Lumumba-Kasongo * 23. Press Start to (Fore)Play: Sex and Sexuality in Game Music * Michael L. Austin * 24. Indigenous-Designed Pixels, Circuits, and Game Music and Sound * Kate Galloway * 25. Listening to the Gerudo and the Desert in The Legend of Zelda Series * Hyeonjin Park * 26. Ludomusical Autobiography and the Indie Composer-Developer * William Gibbons * SECTION 6: PRE-EXISTING MUSIC * 27. Hearing the Renaissance in Video Games * Karen M. Cook * 28. Claude Debussy's Piano Music and the Evocation of Atmosphere and Humor in Video Games * Gurminder Bhogal * 29. Pop Shove-It, Pop Music: Tunes, Tricks, and Transmediality in Tony Hawk's Pro Skater * James Millea * 30. Playing with American Folk Music, Supernatural Encounters, and Perspectives on Death * Peter Smucker * 31. Taking a Pop at Ludonarratology: Narrative Perspectives on Popular Music in Video Games * Andra Ivanescu * SECTION 7: MUSICAL PERFORMANCE * 32. Video Games Alive: Ludic Liveness and (Re)playful Listenings in Video Game Music Concerts * Stefan Greenfield-Casas * 33. Video Games Live and the Gamification of the Orchestral Concert Experience * Elizabeth Hunt * 34. Unreal Performances: Playing in Games/Playing with Games * James Cook * 35. Of Guitar Heroes and Rocksmiths: Guitars, Games, and Affordance Theory * Marc Duby * 36. Musical Repetition and Predictive Gameplay in Rhythm Games * Stephanie Lind * 37. How Musical are Game Players? Exploring Musical Situations in Video Games * Costantino Oliva * SECTION 8: ACOUSTIC ECOLOGIES * 38. Analyzing Navigable Narratives through Multiple Lenses * Elizabeth Hambleton * 39. Ambient Ecologies: Environmental Music in Video Games * Michiel Kamp * 40. Semiotics and the Negotiation of Musical Communication in Video Game Music: An Imprecise and Beautiful Art * Iain Hart * 41. Abstract Representations of Voices in Video Games * Elizabeth Medina-Gray * 42. Simulating Sounds of Spectators: On the Structure, Function, and Realism of Spectator Sounds in a Sports Video Game * Nicolai Jørgensgaard Graakjær * SECTION 9: VIRTUALITY/REALITY * 43. Auditory Reality and Virtuality: Is Space the Final Audio Frontier for Games? * KC Collins and Bill Kapralos * 44. Video Game Sound Design and the Fetish of Realism * Mark Grimshaw-Aagaard * 45. Music and Motion in First-Person Virtual Reality Games * Kate Mancey * 46. Intrinsically Unpleasant Sounds and Player Experience * Denis Zlobin * 47. The Importance of Sound to the Formation of Presence * Mark Grimshaw-Aagaard * Index
* Contributor Affiliations * Acknowledgments * Introduction * SECTION 1: DISCIPLINARY QUESTIONS * 1. Video Game Musicology in Practice: Fifteen Awkward Questions * Tim Summers * 2. Ode to Joysticks: Canonic Fantasies and the "Beethoven of Video Game Music" * William Gibbons * 3. Crossing the Ludo-Cinematic Continuum: Music-Theoretical Approaches to Video Game Music * Sean Atkinson * 4. Ludomusical Narrativity: Sound and Music as Structures of Play * Julianne Grasso * 5. A Creative System in Action: Bringing Video Game Music and Sound into Being * Phillip McIntyre and J.T. Velikovsky * SECTION 2: HISTORY AND TECHNOLOGY * 6. A History of Early U.S. Pinball Sound, 1871-1939 * Neil Lerner * 7. Selling Play through Music and Sound: Audiovisual Promotion for Early Consoles, Home Computers, and Games to 1983 * James Deaville * 8. Hard Limitations and Soft Possibilities: A "Systematic" History of Early Video Game Sound Technology * Kevin R. Burke * 9. Visualizing Music with Video Game Technologies * Jonathan Weinel * 10. Onna no jidai: Women and Video Game Sound in 1980s Japan * Brooke McCorkle Okazaki * 11. Surviving the Game: Published Soundtracks as Archives * Fanny Rebillard * 12. Symbolic Music and Algorithmic Composing: Computer Archaeological Perspectives on BASIC Game Sounds * Stefan Höltgen * SECTION 3: PERCEPTION AND PSYCHOLOGY * 13. Ambiguity and Vagueness in Video Game Sound * Mark Grimshaw-Aagaard * 14. A Functional Approach to the Psychology of Video Game Sound * Tom A. Garner * 15. How Video Game Music Plays Us: Musical Topics, Modularity, and Compulsion Loops * William R. Ayers * 16. Auditory Hallucinations and Altered States of Consciousness in Video Games * Jonathan Weinel * SECTION 4: INTERACTING ACROSS MEDIA * 17. Music and Sound in Early Film-to-Game Adaptations * William O'Hara * 18. Sound, Extended Reality, and the Cinematic-Interactive Dichotomy * Tom A. Garner * 19. Game Noir: The Functions of Jazz in the Detective Adventure Video Game * Jacob Collins * 20. Synergy and Syncs: Record Labels, Video Games, and Unending Consumption * David Arditi * 21. Playground Disco: Playing with Clubs and Aspects of Club Culture in Digital Games * Melanie Fritsch * SECTION 5: IDENTITY * 22. Beyond Nerdcore: Hip-Hop, Race, and the Business of Gamer-Rap * Enongo Lumumba-Kasongo * 23. Press Start to (Fore)Play: Sex and Sexuality in Game Music * Michael L. Austin * 24. Indigenous-Designed Pixels, Circuits, and Game Music and Sound * Kate Galloway * 25. Listening to the Gerudo and the Desert in The Legend of Zelda Series * Hyeonjin Park * 26. Ludomusical Autobiography and the Indie Composer-Developer * William Gibbons * SECTION 6: PRE-EXISTING MUSIC * 27. Hearing the Renaissance in Video Games * Karen M. Cook * 28. Claude Debussy's Piano Music and the Evocation of Atmosphere and Humor in Video Games * Gurminder Bhogal * 29. Pop Shove-It, Pop Music: Tunes, Tricks, and Transmediality in Tony Hawk's Pro Skater * James Millea * 30. Playing with American Folk Music, Supernatural Encounters, and Perspectives on Death * Peter Smucker * 31. Taking a Pop at Ludonarratology: Narrative Perspectives on Popular Music in Video Games * Andra Ivanescu * SECTION 7: MUSICAL PERFORMANCE * 32. Video Games Alive: Ludic Liveness and (Re)playful Listenings in Video Game Music Concerts * Stefan Greenfield-Casas * 33. Video Games Live and the Gamification of the Orchestral Concert Experience * Elizabeth Hunt * 34. Unreal Performances: Playing in Games/Playing with Games * James Cook * 35. Of Guitar Heroes and Rocksmiths: Guitars, Games, and Affordance Theory * Marc Duby * 36. Musical Repetition and Predictive Gameplay in Rhythm Games * Stephanie Lind * 37. How Musical are Game Players? Exploring Musical Situations in Video Games * Costantino Oliva * SECTION 8: ACOUSTIC ECOLOGIES * 38. Analyzing Navigable Narratives through Multiple Lenses * Elizabeth Hambleton * 39. Ambient Ecologies: Environmental Music in Video Games * Michiel Kamp * 40. Semiotics and the Negotiation of Musical Communication in Video Game Music: An Imprecise and Beautiful Art * Iain Hart * 41. Abstract Representations of Voices in Video Games * Elizabeth Medina-Gray * 42. Simulating Sounds of Spectators: On the Structure, Function, and Realism of Spectator Sounds in a Sports Video Game * Nicolai Jørgensgaard Graakjær * SECTION 9: VIRTUALITY/REALITY * 43. Auditory Reality and Virtuality: Is Space the Final Audio Frontier for Games? * KC Collins and Bill Kapralos * 44. Video Game Sound Design and the Fetish of Realism * Mark Grimshaw-Aagaard * 45. Music and Motion in First-Person Virtual Reality Games * Kate Mancey * 46. Intrinsically Unpleasant Sounds and Player Experience * Denis Zlobin * 47. The Importance of Sound to the Formation of Presence * Mark Grimshaw-Aagaard * Index
Es gelten unsere Allgemeinen Geschäftsbedingungen: www.buecher.de/agb
Impressum
www.buecher.de ist ein Internetauftritt der buecher.de internetstores GmbH
Geschäftsführung: Monica Sawhney | Roland Kölbl | Günter Hilger
Sitz der Gesellschaft: Batheyer Straße 115 - 117, 58099 Hagen
Postanschrift: Bürgermeister-Wegele-Str. 12, 86167 Augsburg
Amtsgericht Hagen HRB 13257
Steuernummer: 321/5800/1497
