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
- 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
- References
Part VI - Beyond the Game
Introduction
Published online by Cambridge University Press: 15 April 2021
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
- 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
- References
Summary
The significance of video game music does not end when we turn off the console, shut down the PC or leave the arcade. It has an extended life far beyond the boundaries of the game itself. Perhaps the most obvious way that video game music is encountered outside the game is through recordings and performances of game music.
- Type
- Chapter
- Information
- The Cambridge Companion to Video Game Music , pp. 389 - 423Publisher: Cambridge University PressPrint publication year: 2021
References
Further Reading
Collins, Karen. Playing With Sound: A Theory of Interacting with Sound and Music in Games. Cambridge, MA: The MIT Press, 2013.CrossRefGoogle Scholar
Diaz-Gasca, Sebastian. ‘Super Smash Covers! Performance and Audience Engagement in Australian Videogame Music Cover Bands.’ Perfect Beat 19, no. 1 (2018): 51–67.Google Scholar
Fritsch, Melanie. ‘‘It’s a-me, Mario!’ Playing with Video Game Music’, in Ludomusicology: Approaches to Video Game Music, ed. Kamp, Michiel, Summers, Tim and Sweeney, Mark. Sheffield: Equinox, 2016, 92–115.Google Scholar
O’Leary, Jared and Tobias, Evan. ‘Sonic Participatory Cultures Within, Through, and Around Video Games’, in The Oxford Handbook of Music Making and Leisure, ed. Mantie, Roger and Smith, Gareth Dylan. New York: Oxford University Press, 2016, 543–66.Google Scholar
Plank, Dana. ‘Mario Paint Composer and Musical (Re)Play on YouTube’, in Music Video Games: Performance, Politics, and Play, ed. Austin, Michael. New York: Bloomsbury, 2016, 43–82.Google Scholar
Tessler, Holly. ‘The New MTV? Electronic Arts and ‘Playing Music’, in From Pac-Man to Pop Music: Interactive Audio in Games and New Media, ed. Collins, Karen. Aldershot: Ashgate, 2008, 13–26.Google Scholar