We are very excited to announce the official launch of The Society for the Study of Sound and Music in Games (SSSMG)!
The SSSMG is a network that’s been developed by the Ludomusicology Research Group, the North American Conference on Video Game Music, Audio Mostly, and an extensive advisory board of leading academics and practitioners. The aim is to provide a hub to connect together people working on game audio and to support advances in the understanding of sound and music in games.
The SSSMG helps anyone who investigates game sound and music, whether in an academic or professional setting, to discuss the topic together, exchange ideas and information, and keep up-to-date with new research. Anyone can join, and the members are always looking for new approaches to the subject.
SSSMG will make publicly available:
- General news
- General Society contact info
- Links to other affiliated societies/groups
- Events Calendar (view only)
- Newly revised, keyworded and searchable Bibliography
Registered members will have additional access to:
- Network with searchable, keyworded members’ directory
- Submit events for publication on the Calendar
- Share conference presentations and Green OA publications in a subject repository
- Compose and submit news posts
- Contribute to Bibliography Project
Further member benefits and services will be added in the future. Visit www.sssmg.org to find out more!
We’re delighted to announce that Ludo2017, the Sixth Easter Conference on Video Game Music and Sound, will take place April 20th – 22nd at Bath Spa University, UK.
Please share our Call for Papers poster online and around your institutions.
The organizers of Ludo2017 are accepting proposals for research presentations at the sixth annual Easter conference. While we welcome all proposals on sound and music in games, we are particularly interested in papers that support the theme of ‘Performance’, understood in the broadest sense. Possible topics on this theme include:
- Chips and sonic outputs,
- Playing with, and within, technological audio constructs,
- Sound and ludic interaction,
- Histories of developing techniques and tools,
- Game audio aesthetics and approaches,
- Composition with game technologies (chips, engines, etc.).
Presentations should last twenty minutes, to be followed by questions. Please submit your paper proposal (c.250 words) by email to email@example.com by January 31st 2017.
Composers and practitioners may also submit a proposal to present work at the conference.
We also welcome session proposals from organizers representing two to four individuals; the organizer should submit an introduction to the theme and c.200 word proposals for each paper.
The conference will feature a keynote address by Kenneth McAlpine (Abertay University), author of Bits and Pieces: A History of Chiptunes (OUP, 2017), with further keynote speakers and guests to be announced shortly.
www.ludomusicology.org | #ludo2017
Hosted by Professor James Newman, Bath Spa University.
Organized by Melanie Fritsch, Michiel Kamp, Tim Summers, Mark Sweeney.
We are delighted to announce that Melanie is officially joining our Research Group. Melanie has been an avid supporter of our conference over the years, and plays a critical role in championing research on video game sound and music in Germany. She has already been providing generous support to us (if you’ve noticed increased Twitter activity from us in recent months, that’s entirely thanks to Melanie) and we’re very excited to have her on board as we continue our work on the annual international conferences, as well as other projects.
Melanie Fritsch M.A. has worked as research assistant at the Research Institute for Music Theatre (University of Bayreuth) between 2008 and 2013, and has taught in the Music Theatre Studies department at that very place (B.A./M.A.). Currently she is writing her PhD thesis “Performing bytes. Musikperformances der Computerspielkultur” (“Performing bytes. Music performances of video game culture“). Her recent publications appeared in Ludomusicology: Approaches to Video Game Music, Music Video Games: Performance, Politics, and Play, and the Oxford Handbook of Interactive Audio.
She is also editor of the 2011 issue of “ACT – Zeitschrift für Musik und Performance” focusing on video games and music, and has been a member of the AHRC research network “Guitar Heroes in Music Education? Music-based video-games and their potential for musical and performative creativity” in 2014-2015. She also co-organizes the researching games BarCamp 2017 in Berlin.
For more information (talks, publications, activities, full CV) see http://uni-bayreuth.academia.edu/MelanieFritsch or meet her on Twitter @myfritsch.
Upcoming talks: http://subotron.com/veranstaltung/ludomusicology/ and https://www.facebook.com/events/210114469366505/.
Latest thing: https://spielkult.hypotheses.org/1186.
We are thrilled to announce that our volume, Ludomusicology Approaches to Video Game Music has just published! Supplementary materials to the book will be published on our website soon, so look forward to a further announcement about that in the coming weeks.
The last half-decade has seen the rapid and expansive development of video game music studies. As with any new area of study, this significant sub-discipline is still tackling fundamental questions concerning how video game music should be approached. In this volume, experts in game music provide their responses to these issues.
This book suggests a variety of new approaches to the study of game music. In the course of developing ways of conceptualizing and analyzing game music it explicitly considers other critical issues including the distinction between game play and music play, how notions of diegesis are complicated by video game interactivity, the importance of cinema aesthetics in game music, the technicalities of game music production and the relationships between game music and art music traditions.
This collection is accessible, yet theoretically substantial and complex. It draws upon a diverse array of perspectives and presents new research which will have a significant impact upon the way that game music is studied. The volume represents a major development in game musicology and will be indispensable for both academic researchers and students of game music.
Table of Contents
Michiel Kamp, Tim Summers, Mark Sweeney
- Analyzing Video Game Music: Sources, Methods and a Case Study
- Analyzing Game Musical Immersion: The ALI Model
Isabella van Elferen, Kingston University, London
- Modularity in Video Game Music
Elizabeth Medina-Gray, Independent Scholar
- Suture and Peritexts: Music Beyond Gameplay and Diegesis
- “It’s a-me, Mario!” – Playing With Video Game Music
Melanie Fritsch, Independent Scholar
- Game and Play in Music Video Games
Anahid Kassabian, Independent Scholar, and Freya Jarman, University of Liverpool
- ‘Listening’ Through Digital Interaction in Björk’s Biophilia
Samantha Blickhan, PhD Candidate
- Palimpsest, Pragmatism and the Aesthetics of Genre Transformation: Composing the Hybrid Score to Electronic Arts’s Need for Speed Shift 2: Unleashed
Stephen Baysted, University of Chichester
- Isaac’s Silence Purposive Aesthetics in Dead Space
Mark Sweeney, University of Oxford
- Remixed Metaphors: Manipulating Classical Music and Its Meanings in Video Games
William Gibbons, Texas Christian University
Thank you to all of our fantastic chapter authors for your hard work in bringing this volume together.
hb ISBN 9781781791974
£60 / $100
pb ISBN 9781781791981
£19.99 / $29.95
Pub date: July 2016
Extent: 240pp 15 Figures
Format: 234 x 156mm (9.21 x 6.14 inches)
Readership: scholars and students
Subjects: Popular Music
Series: Genre, Music and Sound