Bibliography

We aim to keep an up-to-date selective bibliography on this page, with links to online resources. If you think we have missed an article or would like anything included, please contact us. You can filter any of the columns using the 'search' field (separate your terms with just spaces) and sort by any column by clicking it.
SurnameForenameAdditional AuthorsUnit TitleSourceYearMediaExternal LinkKeywordsSSSMG Repository LinkSSSMG Username
AavSebastianAdaptive Music System for DirectSoundUniversity of Linköping Campus Norrköping2005DB (M)https://www.diva-portal.org/smash/get/diva2:21635/FULLTEXT01.pdfdynamic music; DirectMusic; tools; middleware
AhlersMichaelMusik in Videospielen: Zwischen 8-Bit-Ästhetik und adaptivem KlanggeschehenMusikforum, Heft 2/2009, 41-442009APhistory; adaptive music; 8-bit; technology
AljanakiAnjaFrans Wiering, Remko C. VeltkampStudying Emotion Induced by Music through a Crowdsourcing GameInformation Processing & Management 52/1, pp. 115-282016APhttp://www.sciencedirect.com/science/article/pii/S0306457315000424emotion; crowdsourcing; serious games; music information retrieval; Music Emotion Recognition; Geneva Emotional Music Scale
AlloucheKhalidHomam Albeiriss, Redouane Zarghoune, Juha Arrasvuori, Antti Eronen, Jukka HolmImplementation and Evaluation of a Background Music Reactive GameIE '07 Proceedings of the 4th Australasian conference on Interactive entertainment. RMIT University2007AStechnology; experimental; empirical; Briquolo; reactive games; game design
AlvesValterLicínio RoqueGuidelines for Sound Design in Computer GamesIn Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 362-3832011ACSound design; enrichment; experience; intentional sound design; multi-disciplinary; emotion; context; acoustic ecology; soundscape; resonance; entrainment; sound layers
AnderssonAnders-PetterBirgitta CappelenMusical Interaction for Health ImprovementIn Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press)2014AChealth, sound design, interaction design, tangible interaction, musicking, co-creation, disability, empowerment, music therapy
ArditiDavidVirtual Jam: A Critical Analysis of Virtual Music Game EnvironmentsIn Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury)2016ACpolitical economy; cultural studies; popular music; internet; DAW; Pro Tools
ArrasvuoriJuhaPlaying and Making Music: Exploring the Similarities between Video Games and Music-Making SoftwareUniversity of Tampere2006DDmusic games; music-making software; ludus; paidia; Magix Music Maker; MTV Music Generator 2; eJay Clubworld; Beatmania; Amplitude; Gitaroo Man; Fluid; SingStar; Get on da Mic; 100% Star
ArsenaultDominicGuitar Hero: "Not like playing guitar at all"?Loading... 2/22008APGuitar Hero; music games; interfaces;
AslingerBenGenre in Genre: The Role of Music in Music GamesDiGRA '09 - Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory2009ASrhythm games, Rock Band, Flow! Urban Dance Uprising, Dance Dance Revolution, Guitar Hero, genre, rock, hip-hop
Audio MostlyProceedings of the Audio Mostly ConferenceProceedings of the Audio Mostly Conference2006 to 2010BSConsult individual papers
AustinMichaelSample, Cycle, Sync: The Music Sequencer and Its Influence on Music Video GamesIn Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury)2016APChiptune Runner; My Singing Monsters; sequences; interface; affordance; organology; instrument; MDA
AustinMichaelFrom mixtapes to multiplayers: Sharing musical taste through video gamesThe Soundtrack 8/1-22015APmusic games; remediation; participatory culture
BaccigalupoClaudioDesign and Production of Audio Technologies for Video Games DevelopmentUniversità  degli Studi di Milano2003DB (M)http://www2.iiia.csic.es/~claudio/papers/Baccigalupo-2003-MasterThesis-Section1.pdfgame design; history; technology; audio design
BaxaJohnEffects of Contingent and Non-Contingent Audio on Performance and Quality of Experience in a Role-Playing Video GameKalamazoo College2008DB (U)https://cache.kzoo.edu/bitstream/handle/10920/8995/JohnBaxaSIP.pdf?..empirical; experimental; immersion; dynamic music
BaystedStephenPalimpsest, Pragmatism and the Aesthetics of Genre Transformation: Composing the Hybrid Score to Electronic Arts' Need for Speed Shift 2: UnleashedIn Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox)2016ACdynamic music, composition, Need for Speed Shift 2: Unleashed, popular music
BelinkieMatthewVideo Game Music: Not Just Kid StuffVGMusic.com1999EAhttp://www.vgmusic.com/information/vgpaper.htmlhistory; composer interviews; game design; technology;
BerndtAxelKnut HartmannStrategies for Narrative and Adaptive Game ScoringAudio Mostly - 2nd Conf. on Interaction with Sound, Fraunhofer IDMT, Ilmenau, Germany, September 2007, pp. 141-1472007ASdynamic music; composition; narrative; generated music
BerndtAxelMusical Nonlinearity in Interactive Narrative EnvironmentsIn G. Scavone, V. Verfaille, and A. da Silva (eds.) The International Computer Music Conference (ICMC) 2009, McGill University, Montreal, Canada, August 2009, pp. 355-3582009ASdynamic music; composition; narrative; generated music; transitions;
BerndtAxelDiegetic Music: New Interactive ExperiencesIn Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 60-762011ACdiegetic; diegesis; functions; implementation; nonlinearlity; controllability
BerndtAxelKnut Hartmann, Niklas Röber, and Maic MasuchComposition and Arrangement Techniques for Music in Interactive Immersive EnvironmentsIn: Audio Mostly - A Conf. on Sound in Games, Interactive Institute/Sonic Studio, PiteÃ:¥, Sweden, October 2006, pp. 53-592006ASdynamic music; composition; narrative; film music
BerndtAxelKnut HartmannThe Functions of Music in Interactive MediaIn: U. Spierling and N. Szilas (eds.) Interactive Digital Storytelling (ICIDS) 2008, Springer-Verlag Berlin Heidelberg, University of Applied Sciences Erfurt, Germany, November 2008, pp. 126-131.2008ASdynamic music; perception; narrative; film music; functions
BerndtAxelMusik für interaktive Medien: Arrangement und InterpretationstechnikenMagdeburg University2011DDdynamic music; composition; narrative;
BessellDavidWhat's That Funny Noise? An Examination of the Role of Music in Cool Boarders 2, Alien Trilogy and Medievil 2In Geoff King and Tanya Krzywinska (eds) Screenplay: Cinema/Videogames/Interfaces (London and New York: Wallflower) 136-144.2002ACfilm music; functions; dynamic music; Cool Boarders 2; Alien Trilogy; Medievil 2
Beverburg RealeStevenTranscribing Musical Worlds; or, Is L.A. Noire a Music Game?In K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge)2014ACmusic games; L.A. Noire; analysis; BIT.TRIP; levels
BlickhanSamantha"Listening" Through Digital Interaction in Björk's BiophiliaIn Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox)2016ACBiophilia, music games, apps, iPad
BoerJamesGame Audio ProgrammingHingham, Massachusetts: Charles River Media2003BMgame design; technology; programming
BorchersJanMax MühlhäuserDesign Patterns for Interactive Musical SystemsIEEE Multimedia 5/31998APmiddleware; technology; programming; WorldBeat
BöttcherNielsStefania SerafinA Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player?In Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press)2014ACprocedural audio, motoric behavior, self-produced sound, motion controllers, Max/MSP, granular synthesis, realism
BoydAndrewWhen Worlds Collide: Sound and Music in Film and Computer GamesGamasutra: Jan 17, 20032003EAhttp://www.gamasutra.com/view/feature/131310/when_worlds_collide_sound_and_.phpgame design; film music; audio design;
BrameJasonThematic Unity Across a Video Game SeriesACT 22011APhttp://www.act.uni-bayreuth.de/de/archiv/2011-02/03_Brame_Thematic_Unity/index.htmlmusic theory; Schenkerian analysis; Super Mario Bros.; Legend of Zelda; semiotics; composition;
BrandonAlexanderAudio for Games: Planning, Process, and ProductionBerkeley, CA: New Riders Games2005BMaudio design; technology
BridgettRobContextualizing Game Audio AestheticsIn John Richardson, Claudia Gorbman, Carol Vernallis (eds.), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press)2013ACpostproduction, Scarface, audio director, sound design
BridgettRobDynamic range: subtlety and silence in video game soundIn Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 127-1342008ACplayer control; dynamics; mixing; interactive; cultural artefact
BridgettRobFrom the shadows of film sound: cinematic production & creative process in video game audio: collected publications 2000-2010Self Published2010BMaudio design; film music; composition; technology
BullerjahnClaudiaMusik in Computerspielen. Vermarktungspotenzial, Nutzung und WirkungIn Christofer Jost, Daniel Klug, Axel Schmidt and Klaus Neumann-Braun (eds.), Populäre Music, Mediale Musik? Transdisziplinäre Beiträge zu Medien der Populären Musik, Baden-Baden: Nomos, pp. 33-592011AChttp://www.academia.edu/4818621/Music_in_computer_games._Potential_for_marketing_utilization_and_effectmarketing; psychology; review; pop music; dynamic music
BurrillDerek A.Melissa Blanco BorelliDancing with Myself: Dance Central, Choreography, and EmbodimentIn Melissa Blanco Borelli (ed.), The Oxford Handbook of Dance and the Popular Screen (Oxford: Oxford University Press)2014ACDance Central, avatar bodies, choreography, Kinect, embodiment
CapacchioneTristanMusical Gamescapes: A Study of Unity in Arcanum: Of Steamworks and Magick ObscuraSelf Published (?)2007EAhttps://www.hitpages.com/doc/5071230289838080/1#pageTopmusic theory; Arcanum; ludus; paidia; gamescape;
CarlssonAndersChip music: low-tech data music sharingIn Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 153-1622008ACchip music; demoscene; history; LP; EP; electronic music; music writing software; tracker; 8-bit
CassidyGiannaRaymond MacDonaldThe effects of music choice on task performance: A study of the impact of self-selected and experimenter-selected music on driving game performance and experienceMusicae Scientiae 13/2 357-3862009APpsychology; arousal; preference; performance; driving games
CassidyGiannaRaymond MacDonaldThe Role of Music in Video Games: The The Effects of Self-Selected and Experimenter-Selected Music on Driving Game Performance and ExperienceProceedings of the 10th International Conference on Music Perception and Cognition, 2008, Sapporo. pp. 762–767.2008ASimmersion; experience; game design; empirical; psychology; cognition
CerratiMichaelVideo Game Music: Where it Came From, How it is Being Used Today, and Where it is Heading TomorrowVanderbilt journal of entertainment and technology law, 8/2, 293-334.2006APhistory; financial statistics; licensing; legal; marketing;
ChanNormanA Critical Analysis of Modern Day Video Game AudioUniversity of Nottingham2007DB (U)composer interviews; Civilization IV; Grand Theft Auto; Hitman: Blood Money; dynamic music; composition; music theory; diegetic music;
ChengWilliamRole-Playing toward a Virtual Musical Democracy in The Lord of the Rings Online Ethnomusicology 56/1, 31-622012APvirtual ethnography, Lord of the Rings Online
ChengWilliamMonstrous Noise: Silent Hill and the Aesthetic Economies of FearIn Carol Vernallis, Amy Herzog, John Richardson (ed.), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press)2013ACSilent Hill, horror, noise, industrial music
ChengWilliamAcoustemologies of the ClosetIn Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press), 337-482014ACvirtual ethnography, online voice communication, gender, identity, sexual politics
ChengWilliamAfterword--Toadofsky's Music LessonsIn Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury)2016ACSuper Mario RPG: Legend of the Seven Stars; musicality; music games; affordance
ChengWilliamSound Play: Video Games and the Musical ImaginationOxford; New York: Oxford University Press2014BMaesthetics, virtual ethnography, Fallout 3, Final Fantasy VI, Silent Hill, Lord of the Rings Online, Team Fortress 2, concerts
Childs IVG. W.Creating Music and Sound for GamesBoston, MA: Thompson Course Technology2007BMcomposition; sound design; design process; middleware; dynamic music;
CollinsKarenFrom Pac-Man to Pop Music: Interactive Audio in Games and New MediaAldershot, Hampshire and Burlington, VT: Ashgate2008BCSee individual entries
CollinsKarenGame Sound: An Introduction to the History, Theory and Practice of Video Game Music and Sound DesignCambridge, Mass. and London: MIT Press2008BMhistory; technology; console hardware; aesthetics; dynamic music; composition;
CollinsKarenAn Introduction to Procedural Audio in Video GamesContemporary Music Review: Special Issue on Generative Audio, 28/1, 5-152009APtechnology; composition; procedural audio; dynamic music
CollinsKarenFrom Bits to Hits: Video Games Music Changes its TuneFilm International, 12, 4-192005APhistory; composition; dynamic music; music games; technology; console hardware
CollinsKarenAn Introduction to the Participatory and Non-Linear Aspects of Video Game AudioIn Hawkins, Stan and John Richardson (eds), Essays on Sound and Vision (Helsinki: Helsinki University Press), 263-2982007ACdynamic music; diegesis; composition; transitions; functions; Legend of Zelda; Grim Fandango; immersion;
CollinsKarenImplications of Interactivity: What Does it Mean for Sound to be “Interactive”?In John Richardson, Claudia Gorbman, Carol Vernallis (eds.), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press)2013ACinteractivity, feedback, control mechanisms, sound production, digital aesthetics, new media
CollinsKarenIntroductionIn Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 1-102008AChistory; game research;
CollinsKarenHolly Tessler, Kevin Harrigan, Michael J. Dixon, Jonathan FugelsangSound in Electronic Gambling Machines: A Review of the Literature and its Relevance to Game SoundIn Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 1-212011ACEGMs; electronic gambling machines; arcade; advertising; gambling; casino; environment; physiology; sound; film; television
CollinsKarenBreaking the Fourth Wall? User-Generated Sonic Content in Virtual WorldsIn Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press)2014ACmulti-player, fourth wall, user-generated content, immersion, participation, magic circle
CollinsKarenA History of Handheld and Mobile Video Game SoundIn Sumanth Gopinath, Jason Stanyek (eds.) The Oxford Handbook of Mobile Music Studies, Vol. 2 (Oxford Oxford University Press)2014AChandheld consoles, technological constraints, sound chips, mobile phones, media convergence
CollinsKarenGrand Theft Audio?: Popular Music and Interactive GamesMusic and the Moving Image 1/12008APpopular music; licensing; history;
CollinsKarenVideo Games Killed the Cinema StarMusic, Sound and the Moving Image, 1/1, 15-202007APvideo game music studies; influence;
CollinsKarenFlat Twos and the Musical Aesthetic of the Atari VCSPopular Musicology Online, 12006APtechnology; composition; Atari VCS; console hardware; aesthetics; chip music; 8-bit;
CollinsKarenS. Ashby, T. Bush, J. Daoust, N. Duveau, J. Lewis, C. Robinson, T. White, G. WhitmoreOvercoming Roadblocks in the Quest for Interactive AudioProject Bar-B-Q report 20072007AStechnology; composition; dynamic music; audio design;
CollinsKarenLoops and Bloops: Music on the Commodore 64Soundscape: Journal of Media Culture, 8/12006APtechnology; composition; Commodore 64; console hardware; aesthetics; dynamic music; 8-bit;
CollinsKarenIn the Loop: Confinements and Creativity in 8-bit GamesTwentieth-Century Music, 4/2, 209-2272007APtechnology; composition; history; console hardware; 8-bit;
CookKaren M.Music, History, and Progress in Sid Meier's Civilization IVIn K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge)2014ACCivilization IV; music history; classical music
CookJamesPlaying with the Past in the Imagined Middle Ages: Music and Soundscape in Video GameIn Dorothy Kim and Christopher Roman (eds.), Sounding Out! 'Theme: Medieval Soundscapes'. 3 October 2016.2016EAhttps://soundstudiesblog.com/2016/10/03/playing-with-the-past-in-the-imagined-middle-ages-music-and-soundscape-in-video-game/Medievalism; early music; fantasy; high fantasy; social structure; sonic; representations of the pastJCook
CrathornePieterVideo game genres and their musicUniversity of Stellenbosch2010DB (M)http://scholar.sun.ac.za/bitstream/handle/10019.1/4355/Crathorne,+P.J.pdf?sequence=1genre; art music; film music; music theory;
CunninghamStuartVic Grout, Rich PickingEmotion, Content, and Context in Sound and Musicin Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 235-2632011ACSound artefacts; information; processing; meaning; purpose; emotion; content analysis; context
CuryMónica MoreiraLa Música de los Videojuegos: Modalidades de Uso y Su Relación Con El Imaginario Social. Un Estudio Sobre La Banda Sonora Del Juego: ‘Final Fantasy VI'University of Chile2004DB (M)function; social implications; film music; Final Fantasy VII
CustodisMichaelPlaying with Music - Featuring Sound in GamesIn Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS)2013AC
DeCastroDanielQuality Video Game Music Scores, Considering the Standards Set, and Personal ReflectionsNew York University2007DB (M)http://www.vgmusic.com/information/vgpaper3.htmlcomposition; aesthetics; music education; concerts;
DemersJoannaDancing machines: :‘Dance Dance Revolution', cybernetic dance, and musical tastePopular Music 25/3, 401-4142006APmusic games; society; subcultures; Dance Dance Revolution; popular music; dance
d'EscrivanJulioElectronic Music and the Moving ImageIn Nick Collins and Julio d'Escrivan (eds.), The Cambridge Companion to Electronic Music (Cambridge: Cambridge University Press), 156-170.2007ACfilm music; electronic music; audio design; composition; television music;
DeutschStephenMusic for Interactive Moving PicturesIn Larry Sider, Diane Freeman and Jerry Sider (eds.) Soundscape: The School of Sound Lectures 1998-2001 (London and New York: Wallflower Press) 28-34.2003ACfilm music; history; composition; electronic music; transitions;
DibbenNicolaVisualizing the App Album with Björk’s BiophiliaIn Carol Vernallis, Amy Herzog, John Richardson (ed.), The Oxford Handbook of Sound and Image in Digital Media (Oxford: Oxford University Press)2013ACmusic app, music album, interactivity, multisensory, Björk, Biophilia
DittbrennerNilsSoundchip-Musik Computer- und Videospielmusik von 1977-1994Universität Lüneburg2005DB (M)history; console hardware; technology; composition; 8-bit; dynamic music; chip music;
DockwrayRuthKaren CollinsA Symphony of Sound: Surround Sound in Formula One Racing GamesIn Paul Théberge, Kyle Devine, Tom Everett (eds.), Living Stereo: Histories and Cultures of Multichannel Sound, New York; London: Bloomsbury2015ACracing game; Formula One; surround sound; sound effects; Low Frequency Effects
DolphinAndrewDefining Sound Toys: Play as CompositionIn Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press)2014ACsound toys, open work, instruments, spectromorphology, generative systems
DonnellyK.J.Lawn of the Dead: The Indifference of Musical Destiny in Plants vs. ZombiesIn K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge)2014ACPlants vs. Zombies; dynamic music; anempathetic music; horror games
DozalMario A.Consumerism Hero: The "Selling Out" of Guitar Hero and Rock BandIn Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury)2016ACrock; political economy; authenticity; Guitar Hero; Rock Band; rhythm game; commodification; conspicuous consumption
DrescherPeterCould ringtones be more annoying?In Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 47-542008ACtransfer; sonic quality; future; MP3; technology; customization
DriscollKevinJoshua DiazEndless Loop: A Brief history of ChiptunesTransformative Works and Cultures 22009AP8-bit; demo scene; participatory culture; sampling
DroumevaMilenaAn Acoustic Communication Framework for Game Sound: Fidelity, Verisimilitude, EcologyIn Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 131-1522011ACFidelity; verisimilitude; acoustic realism; communication; patterns of listening; acoustic communities; ecology; listening modes; attentional stances; soundscapes; culture
EkmanIngerPetri LankoskiHair-Raising Entertainment: Emotions, Sound, and Structure in Silent Hill 2 and Fatal FrameIn Bernard Perron (ed), Horror Video Games: Essays on the Fusion of Fear and Play (Jefferson, NC: McFarland & Co), 181-199.2009ACperception; emotion; Silent Hill 2; Fatal Frame; threat
EkmanIngerA Cognitive Approach to the Emotional Function of Game SoundIn Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press)2014ACnonmusical sound, emotion, affect, embodied cognition, narrative
ErbeMarcusMundane Sounds in Miraculous Realms: An Auditory Analysis of Fantastical GamesIn Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS), 125-1462013ACfantastical games; mundane;
EylesMarkDan PinchbeckPlayful AmbienceDiGRA '11 - Proceedings of the 2011 DiGRA International Conference: Think Design Play2011ASambient music, Brian Eno, gamification, Ford Fusion Hybrid
FarnellAndyBehaviour, Structure and Causality in Procedural AudioIn Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 313-3392011ACProcedural audio; historical; philosophical; commercial; technological; sound synthesis; virtual world; interactivity; real-time; computation
FarnellAndyAn introduction to procedural audio and its application in computer games.Self Published2007EAhttp://cs.au.dk/~dsound/DigitalAudio.dir/Papers/proceduralAudio.pdfprocedural audio; composition; perception; technology
FayTodd M.Scott Selfon and Todor J. FayDirectX 9 Audio Exposed: Interactive Audio DevelopmentPlano, Texas: Wordware2004BCcomposition; audio design; technology; DirectMusic; middleware
FleshnerNathanPitching the Rhythm: Music Games for the iPadIn Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury)2016ACrhythm; Groove Coaster; Tone Sphere; iPad; music theory; composition; Soundrop; music games
FranklinJaniceVideo Game Audio: Music?AAA-TAC: Acoustical, art and artifacts"—Technology, aesthetics, communication. Vol. 12004APinterviews; perception; dynamic music; reviews; journalism;
FribergJohnnyDan GärdenforsAudio Games: New perspectives on game audioPaper presented at the" ACE conference 2004, Singapore, June 20042004ASaudio games; game design; audio design; Mudsplat; X-tune; Tim's Journey; perception;
FritschMelanieMusik spielen - Computerspiele und MusikACT 22011APhttp://www.act.uni-bayreuth.de/de/archiv/2011-02/01_editorial/index.htmlhistory; Video Games Live; Civilization IV; awards; Scott Pilgrim vs. the Worldmelaniefritsch
FritschMelanieWorlds of Music: Strategies for Creating Music-based Experiences in VideogamesIn Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press)2014ACgameplay pattern, rhythm games, virtual world, narrative, experience, gestalt theory, Brütal Legend, Eternal Sonata, Vib-Ribbon melaniefritsch
FritschMelanieBeat it!--Playing the "King of Pop" in Video GamesIn Michael Austin (ed.), Music Video Games: Performance, Politics, and Play (London: Boomsbury)2016ACMichael Jackson; performance studies; stardom; Michael Jackson's Moonwalkermelaniefritsch
FritschMelanie"It's a-me, Mario!": Playing with Video Game MusicIn Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox)2016ACliteracy, fandom, participatory culture, Super Mario Bros.: The 8-Bit Operamelaniefritsch
FritschMelanieHistory of Video Game MusicIn Moormann, Peter (ed.), Music and Game: Perspectives on a Popular Alliance (Wiesbaden: Springer VS), 11-412013ACmelaniefritsch
FritschMelanieLive Performance Games? - Musikalische Bewegung sehen, hören und spielen.In Schroedter, Stephanie (ed.), "Bewegungen zwischen Hören und Sehen: Denkbewegungen über Bewegungskünste", Würzburg: Königshausen & Neumann, 2012; p. 609-624.2012ACmelaniefritsch
FritschMelanieStefan StrötgenRelatively Live: How to Identify Live Music PerformancesMusic and the Moving Image 5/1, 2012 (March)2012APmelaniefritsch
FurlongCianComputer Game Music - A Multifunctional MediumUniversity College Dublin2004DB (U)https://danielrparente.files.wordpress.com/2012/04/computer_game_music_-_a_multifunctional_medium.pdfcomposition; Super Mario Bros.; film music; marketing; function
GarnerTom A.Mark GrimshawSonic Virtuality: Understanding Audio in a Virtual WorldIn Mark Grimshaw (ed.), The Oxford Handbook of Virtuality (Oxford, Oxford University Press)2014ACembodied cognition, imagination, acoustic ecology, virtuality, reality
GersicThomas E.Playing and the Past: Toward a New Sound for GamesIn Zach Whalen and Laurie N. Taylor (eds.), Playing the Past: History and Nostalgia in Video Games, Nashville TN: Vanderbilt University Press.2008ACsound design; Digital Audio Workstation; Resident Evil O; Hitchcock; diegetic sound effects; generative music
GibbonsWilliamWrap Your Troubles in Dreams: Popular Music, Narrative, and Dystopia in BioshockGame Studies 11/32011APhttp://gamestudies.org/1103/articles/gibbonspopular music; perception; Bioshock; narrative; licensed music; irony
GibbonsWilliamWandering Tonalities: Silence, Sound, and Morality in Shadow of the ColossusIn K. J. Donnelly, William Gibbons, Neil Lerner (eds.), Music in Video Games: Studying Play (New York; London: Routledge)2014ACShadow of the Colossus; silence; dynamic music
GibbonsWilliamRemixed Metaphors: Manipulating Classical Music and its Meanings in Video GamesIn Michiel Kamp, Tim Summers, Mark Sweeney (eds.), Ludomusicology: Approaches to Video Game Music (Sheffield; Bristol, CT: Equinox)2016ACclassical music, Gyruss, Fez, Boom Boom Rocket, Catherine
GibbonsWilliamBlip, Bloop, Bach? Some Uses of Classical Music on the Nintendo Entertainment SystemMusic and the Moving Image 2/1, 40-522009APclassical music; NES; composition; Battle of Olympus; Captain Comic, Pirates!, Tetris, politics, imagery, Folk Tunes, Tchaikovsky, Bach, Handel, Mozart, pre-existing music
GretheMitchellAndrew ClarkeVideogame Music: Chiptunes Byte Back?DiGRA '07 - Proceedings of the 2007 DiGRA International Conference: Situated Play2007ASchiptune, 8-bit music, subculture
GrimshawMarkGame Sound: Game Sound Technology and Player Interaction: Concepts and DevelopmentsHershey, Pa: Information Science Reference2010BCSee individual entries
GrimshawMarkTom A. GarnerEmbodied Virtual Acoustic Ecologies of Computer GamesIn Karen Collins, Bill Kapralos, Holly Tessler (eds.), The Oxford Handbook of Interactive Audio (Oxford: Oxford University Press)2014ACembodied cognition, emotion, affect, biofeedback, psychophysiology, acoustic ecology
GrimshawMarkSound and Player Immersion in Digital GamesIn Trevor Pinch and Karin Bijsterveld (eds.), The Oxford Handbook of Sound Studies (Oxford Oxford University Press)2011ACfirst-person shooter, sound, immersion, real world, virtual world
GrimshawMarkGareth SchottA Conceptual Framework for the Analysis of First-Person Shooter Audio and its Potential Use for Game EnginesInternational Journal of Computer Games Technology2008APperception; ecology; first-person shooter; audio design; affordance
GrimshawMarkCraig A. Lindley, Lennart NackeSound and Immersion in the First-Person ShooterInternational Journal of Intelligent Games & Simulation 5/12008APfirst-person shooter; audio design; immersion; procedural audio; technology
GrimshawMarkCraig A. Lindley, Lennart NackeSound and Immersion in the First-Person Shooter:Mixed Measurement of the Player's Sonic ExperienceProceedings of Audio Mostly 20082008ASfirst-person shooter; audio design; immersion; procedural audio; technology
GrimshawMarkThe Acoustic Ecology of the First-Person Shooter: The Player Experience of Sound in the First-Person Shooter Computer GameSaarbrücken: VDM Verlag Dr. Mueller2008BMperception; ecology; first-person shooter; audio design; Urban Terror; soundscape; affordance; Gibson; space
GrimshawMarkGareth SchottSituating Gaming as a Sonic Experience: The acoustic ecology of First-Person ShootersSituated Play (2007) Proceedings of DIGRA, Digital Games Research Association, September 24-28, 2007, Tokyo, Japan2007ASperception; ecology; first-person shooter; audio design; soundscape; affordance
GrimshawMarkThe Acoustic Ecology of the First-Person ShooterUniversity of Waikato2007DDperception; ecology; first-person shooter; audio design; Urban Terror; soundscape; affordance; Gibson; space
GrimshawMarkSiu-Lan Tan, Scott D. LipscombPlaying with Sound: The Role of Music and Sound Effects in GamingIn Tan, Siu-Lan, Cohen, Annabel J. Cohen, Scott D. Lipscomb, Roger A. Kendall (eds.), The Psychology of Music in Multimedia2013ACpsychology; sound design; cognitive load; review; technology
GuerrazAgnesJacques LemordantIndeterminate adaptive digital audio for games on mobilesIn Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media (Farnham: Ashgate), 55-722008ACmobiles; portable; API; audio formats; AMML; interactive; 3D audio; iXMF; programmatic control
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