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.
Surname | Forename | Additional Authors | Unit Title | Source | Year | Media | Type | Link | Keywords |
|---|---|---|---|---|---|---|---|---|---|
| Aav | Sebastian | Adaptive Music System for DirectSound | University of Linköping Campus Norrköping | 2005 | Thesis (Masters) | CompSci Academic | dynamic music; DirectMusic; tools; middleware | ||
| Ahlers | Michael | Musik in Videospielen: Zwischen 8-Bit-Ästhetik und adaptivem Klanggeschehen | Musikforum, Heft 2/2009, 41-44 | 2009 | Academic Article | Music Academic | history; adaptive music; 8-bit; technology | ||
| Allouche | Khalid | Homam Albeiriss, Redouane Zarghoune, Juha Arrasvuori, Antti Eronen, Jukka Holm | Implementation and Evaluation of a Background Music Reactive Game | IE '07 Proceedings of the 4th Australasian conference on Interactive entertainment. RMIT University, | 2007 | Academic Paper | Music Academic | technology; experimental; empirical; Briquolo; reactive games; game design | |
| Alves | Valter | Licínio Roque | Guidelines for Sound Design in Computer Games | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 362-383 | 2011 | Academic Article | CompSci Academic | Sound design; enrichment; experience; intentional sound design; multi-disciplinary; emotion; context; acoustic ecology; soundscape; resonance; entrainment; sound layers | |
| Arrasvuori | Juha | Playing and Making Music: Exploring the Similarities between Video Games and Music-Making Software | University of Tampere | 2006 | Thesis (PhD) | Music Academic | music 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 | ||
| Arsenault | Dominic | Guitar Hero: "Not like playing guitar at all"? | Loading... 2/2 | 2008 | Academic Article | Music Academic | Guitar Hero; music games; interfaces; | ||
| Audio Mostly | Proceedings of the Audio Mostly Conference | Proceedings of the Audio Mostly Conference | 2006 to 2010 | Proceedings Collection | CompSci Academic | Link | Consult individual papers | ||
| Baccigalupo | Claudio | Design and Production of Audio Technologies for Video Games Development | Università degli Studi di Milano | 2003 | Thesis (Masters) | CompSci Academic | game design; history; technology; audio design | ||
| Baxa | John | Effects of Contingent and Non-Contingent Audio on Performance and Quality of Experience in a Role-Playing Video Game | Kalamazoo College | 2008 | Thesis (Undergraduate) | Music Academic | Link | empirical; experimental; immersion; dynamic music | |
| Belinkie | Matthew | Video Game Music: Not Just Kid Stuff | VGMusic.com | 1999 | Online Article | Music Academic | Link | history; composer interviews; game design; technology; | |
| Berndt | Axel | Knut Hartmann | Strategies for Narrative and Adaptive Game Scoring | Audio Mostly - 2nd Conf. on Interaction with Sound, Fraunhofer IDMT, Ilmenau, Germany, September 2007, pp. 141-147 | 2007 | Academic paper | CompSci Academic | dynamic music; composition; narrative; generated music | |
| Berndt | Axel | Musical Nonlinearity in Interactive Narrative Environments | in G. Scavone, V. Verfaille, and A. da Silva (eds.) The International Computer Music Conference (ICMC) 2009, McGill University, Montreal, Canada, August 2009, pp. 355-358 | 2009 | Academic paper | CompSci Academic | dynamic music; composition; narrative; generated music; transitions; | ||
| Berndt | Axel | Knut Hartmann | The Functions of Music in Interactive Media | in: 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. | 2008 | Academic paper | CompSci Academic | dynamic music; perception; narrative; film music; functions | |
| Berndt | Axel | Knut Hartmann, Niklas Röber, and Maic Masuch | Composition and Arrangement Techniques for Music in Interactive Immersive Environments | in: Audio Mostly - A Conf. on Sound in Games, Interactive Institute/Sonic Studio, PiteÃ:¥, Sweden, October 2006, pp. 53-59 | 2006 | Academic paper | CompSci Academic | dynamic music; composition; narrative; film music | |
| Berndt | Axel | Musik für interaktive Medien: Arrangement und Interpretationstechniken | Magdeburg University | 2011 | Thesis (PhD) | CompSci Academic | dynamic music; composition; narrative; | ||
| Berndt | Axel | Diegetic Music: New Interactive Experiences | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 60-76 | 2011 | Academic Article | CompSci Academic | diegetic; diegesis; functions; implementation; nonlinearlity; controllability | ||
| Bessell | David | What's That Funny Noise? An Examination of the Role of Music in Cool Boarders 2, Alien Trilogy and Medievil 2 | in Geoff King and Tanya Krzywinska (eds) Screenplay: Cinema/Videogames/Interfaces (London and New York: Wallflower) 136-144. | 2002 | Academic Article | Music Academic | film music; functions; dynamic music; Cool Boarders 2; Alien Trilogy; Medievil 2 | ||
| Boer | James | Game Audio Programming | Hingham, Massachusetts: Charles River Media | 2003 | Monograph | CompSci Practical | game design; technology; programming | ||
| Borchers | Jan | Max Mühlhäuser | Design Patterns for Interactive Musical Systems | IEEE Multimedia 5/3 | 1998 | Academic Article | CompSci Practical | middleware; technology; programming; WorldBeat | |
| Boyd | Andrew | When Worlds Collide: Sound and Music in Film and Computer Games | Gamasutra: Jan 17, 2003 | 2003 | Online Article | Journalistic | Link | game design; film music; audio design; | |
| Brame | Jason | Thematic Unity Across a Video Game Series | ACT 2/1 | 2011 | Academic Article | Music Academic | music theory; Schenkerian analysis; Super Mario Bros.; Legend of Zelda; semiotics; composition; | ||
| Brandon | Alexander | Audio for Games: Planning, Process, and Production | Berkeley, CA: New Riders Games | 2005 | Monograph | Industry Practical | audio design; technology | ||
| Bridgett | Rob | From the shadows of film sound: cinematic production & creative process in video game audio: collected publications 2000-2010 | Self Published | 2010 | Monograph | Industry Practical | audio design; film music; composition; technology | ||
| Bridgett | Rob | Dynamic range: subtlety and silence in video game sound | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 127-134 | 2008 | Academic Article | Music Academic | player control; dynamics; mixing; interactive; cultural artefact | ||
| Capacchione | Tristan | Musical Gamescapes: A Study of Unity in Arcanum: Of Steamworks and Magick Obscura | Self Published (?) | 2007 | Academic Paper (?) | Music Academic (?) | music theory; Arcanum; ludus; paidia; gamescape; | ||
| Carlsson | Anders | Chip music: low-tech data music sharing | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 153-162 | 2008 | Academic Article | Music Academic | chip music; demoscene; history; LP; EP; electronic music; music writing software; tracker; 8-bit | ||
| Cassidy | Gianna | Raymond MacDonald | The effects of music choice on task performance: A study of the impact of self-selected and experimenter-selected music on driving game performance and experience | Musicae Scientiae 13/2 357-386 | 2009 | Academic | Musicological; Scientific; Psychological | psychology; arousal; preference; performance; driving games | |
| Cerrati | Michael | Video Game Music: Where it Came From, How it is Being Used Today, and Where it is Heading Tomorrow | Vanderbilt journal of entertainment and technology law, 8/2, 293-334. | 2006 | Academic Article | Music Academic | history; financial statistics; licensing; legal; marketing; | ||
| Chan | Norman | A Critical Analysis of Modern Day Video Game Audio | University of Nottingham | 2007 | Thesis (Undergraduate) | Music Academic | Link | composer interviews; Civilization IV; Grand Theft Auto; Hitman: Blood Money; dynamic music; composition; music theory; diegetic music; | |
| Childs IV | G. W. | Creating Music and Sound for Games | Boston, MA: Thompson Course Technology | 2007 | Monograph | CompSci Practical | composition; sound design; design process; middleware; dynamic music; | ||
| Collins | Karen | From Bits to Hits: Video Games Music Changes its Tune | Film International, 12, 4-19 | 2005 | Academic Article | Music Academic | history; composition; dynamic music; music games; technology; console hardware | ||
| Collins | Karen | Loops and Bloops: Music on the Commodore 64 | Soundscape: Journal of Media Culture, 8/1 | 2006 | Academic Article | Music Academic | technology; composition; Commodore 64; console hardware; aesthetics; dynamic music; 8-bit; | ||
| Collins | Karen | Flat Twos and the Musical Aesthetic of the Atari VCS | Popular Musicology Online, 1 | 2006 | Academic Article | Music Academic | technology; composition; Atari VCS; console hardware; aesthetics; chip music; 8-bit; | ||
| Collins | Karen | In the Loop: Confinements and Creativity in 8-bit Games | Twentieth-Century Music, 4/2, 209-227 | 2007 | Academic Article | Music Academic | technology; composition; history; console hardware; 8-bit; | ||
| Collins | Karen | Video Games Killed the Cinema Star | Music, Sound and the Moving Image, 1/1, 15-20 | 2007 | Academic Article | Music Academic | video game music studies; influence; | ||
| Collins | Karen | An Introduction to the Participatory and Non-Linear Aspects of Video Game Audio | Hawkins, Stan and John Richardson (eds), Essays on Sound and Vision (Helsinki: Helsinki University Press), 263-298 | 2007 | Academic Article | Music Academic | dynamic music; diegesis; composition; transitions; functions; Legend of Zelda; Grim Fandango; immersion; | ||
| Collins | Karen | S. Ashby, T. Bush, J. Daoust, N. Duveau, J. Lewis, C. Robinson, T. White, G. Whitmore | Overcoming Roadblocks in the Quest for Interactive Audio | Project Bar-B-Q report 2007 | 2007 | Academic Article | Music Academic | technology; composition; dynamic music; audio design; | |
| Collins | Karen | From Pac-Man to Pop Music: Interactive Audio in Games and New Media | Aldershot, Hampshire and Burlington, VT: Ashgate | 2008 | Edited Collection | Music Academic | See individual entries | ||
| Collins | Karen | Game Sound: An Introduction to the History, Theory and Practice of Video Game Music and Sound Design | Cambridge, Mass. and London: MIT Press | 2008 | Monograph | Music Academic | history; technology; console hardware; aesthetics; dynamic music; composition; | ||
| Collins | Karen | Grand Theft Audio?: Popular Music and Interactive Games | Music and the Moving Image 1/1 | 2008 | Academic Article | Music Academic | popular music; licensing; history; | ||
| Collins | Karen | An Introduction to Procedural Audio in Video Games | Contemporary Music Review: Special Issue on Generative Audio, 28/1, 5-15 | 2009 | Academic Article | Music Academic | technology; composition; procedural audio; dynamic music | ||
| Collins | Karen | Introduction | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 1-10 | 2008 | Academic Article | Music Academic | history; game research; | ||
| Collins | Karen | Holly Tessler, Kevin Harrigan, Michael J. Dixon, Jonathan Fugelsang | Sound in Electronic Gambling Machines: A Review of the Literature and its Relevance to Game Sound | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 1-21 | 2011 | Academic Article | CompSci Academic | EGMs; electronic gambling machines; arcade; advertising; gambling; casino; environment; physiology; sound; film; television | |
| Crathorne | Pieter | Video game genres and their music | University of Stellenbosch | 2010 | Thesis (Masters) | Music Academic | Link | genre; art music; film music; music theory; | |
| Cunningham | Stuart | Vic Grout, Rich Picking | Emotion, Content, and Context in Sound and Music | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 235-263 | 2011 | Academic Article | CompSci Academic | Sound artefacts; information; processing; meaning; purpose; emotion; content analysis; context | |
| Cury | Mónica Moreira | La 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 Chile | 2004 | Thesis (Masters) | Music Academic | function; social implications; film music; Final Fantasy VII | ||
| d'Escrivan | Julio | Electronic Music and the Moving Image | in Nick Collins and Julio d'Escrivan (eds), The Cambridge Companion to Electronic Music (Cambridge: Cambridge University Press), 156-170. | 2007 | Academic Article | Music Academic | film music; electronic music; audio design; composition; television music; | ||
| DeCastro | Daniel | Quality Video Game Music Scores, Considering the Standards Set, and Personal Reflections | New York University | 2007 | Thesis (Master) | Music Academic | Link | composition; aesthetics; music education; concerts; | |
| Demers | Joanna | Dancing machines: :Dance Dance Revolution', cybernetic dance, and musical taste | Popular Music 25/3, 401-414 | 2006 | Academic Article | Music Academic | music games; society; subcultures; Dance Dance Revolution; popular music; dance | ||
| Deutsch | Stephen | Music for Interactive Moving Pictures | in Larry Sider, Diane Freeman and Jerry Sider (eds) Soundscape: The School of Sound Lectures 1998-2001 (London and New York: Wallflower Press) 28-34. | 2003 | Academic Article | Music Academic | film music; history; composition; electronic music; transitions; | ||
| Dittbrenner | Nils | Soundchip-Musik Computer- und Videospielmusik von 1977-1994 | Universität Lüneburg | 2005 | Thesis (Masters) | Music Academic | history; console hardware; technology; composition; 8-bit; dynamic music; chip music; | ||
| Drescher | Peter | Could ringtones be more annoying? | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 47-54 | 2008 | Academic Article | Music Academic | transfer; sonic quality; future; MP3; technology; customization | ||
| Droumeva | Milena | An Acoustic Communication Framework for Game Sound: Fidelity, Verisimilitude, Ecology | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 131-152 | 2011 | Academic Article | CompSci Academic | Fidelity; verisimilitude; acoustic realism; communication; patterns of listening; acoustic communities; ecology; listening modes; attentional stances; soundscapes; culture | ||
| Ekman | Inger | Petri Lankoski | Hair-Raising Entertainment: Emotions, Sound, and Structure in Silent Hill 2 and Fatal Frame | in Bernard Perron (ed), Horror Video Games: Essays on the Fusion of Fear and Play (Jefferson, NC: McFarland & Co), 181-199. | 2009 | Academic Article | CompSci Academic | perception; emotion; Silent Hill 2; Fatal Frame; threat | |
| Farnell | Andy | An introduction to procedural audio and its application in computer games. | Self Published | 2007 | Casual Article | CompSci Practical | Link | procedural audio; composition; perception; technology | |
| Farnell | Andy | Behaviour, Structure and Causality in Procedural Audio | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 313-339 | 2011 | Academic Article | CompSci Academic | Procedural audio; historical; philosophical; commercial; technological; sound synthesis; virtual world; interactivity; real-time; computation | ||
| Fay | Todd M. | Scott Selfon and Todor J. Fay | DirectX 9 Audio Exposed: Interactive Audio Development | Plano, Texas: Wordware | 2004 | Edited Collection | CompSci Practical | composition; audio design; technology; DirectMusic; middleware | |
| Franklin | Janice | Video Game Audio: Music? | AAA-TAC: Acoustical, art and artifacts"Technology, aesthetics, communication. Vol. 1 | 2004 | Academic Article | Music Academic | interviews; perception; dynamic music; reviews; journalism; | ||
| Friberg | Johnny | Dan Gärdenfors | Audio Games: New perspectives on game audio | Paper presented at the" ACE conference 2004, Singapore, June 2004 | 2004 | Academic Paper | CompSci Academic | audio games; game design; audio design; Mudsplat; X-tune; Tim's Journey; perception; | |
| Fritsch | Melanie | Stefan Strötgen | Relatively Live: How to Identify Live Music Performances | in "Music and the Moving Image" Vol. 5 No. 1, 2012 (March) | 2012 | Academic Article | Music Academic | Link | |
| Fritsch | Melanie | Playing Music - Video Games and Music | ACT - Zeitschrift für Musik und Performance No. 2. Issue editor, "Playing Music - Video Games and Music" with contributions by Tim Summers, Jason Brame, Steven B. Reale, and Dominic Larue" | 2011 | Academic Article | Music Academic | Link | ||
| Fritsch | Melanie | History of Video Game Music | in Moormann, Peter (ed.), "Music and Game: Perspectives on a Popular Alliance", Wiesbaden: Springer VS, 2013; p. 11-41. | 2013 | Academic Article | Music Academic | Link | ||
| Fritsch | Melanie | Live 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. | 2012 | Academic Article | Music Academic | |||
| Furlong | Cian | Computer Game Music - A Multifunctional Medium | University College Dublin | 2004 | Thesis (Undergraduate) | Music Academic | Link | composition; Super Mario Bros.; film music; marketing; function | |
| Gamesound research website | |||||||||
| Gibbons | William | Blip, Bloop, Bach? Some Uses of Classical Music on the Nintendo Entertainment System | Music and the Moving Image 2/1, 40-52 | 2009 | Academic Article | Music Academic | classical music; NES; composition; Battle of Olympus; Captain Comic, Pirates!, Tetris, politics, imagery, Folk Tunes, Tchaikovsky, Bach, Handel, Mozart, pre-existing music | ||
| Gibbons | William | Wrap Your Troubles in Dreams: Popular Music, Narrative, and Dystopia in Bioshock | Game Studies 11/3 | 2011 | Academic Article | Music Academic | Link | popular music; perception; Bioshock; narrative; licensed music; irony | |
| Grimshaw | Mark | The Acoustic Ecology of the First-Person Shooter | University of Waikato | 2007 | Thesis (PhD) | CompSci Academic | perception; ecology; first-person shooter; audio design; Urban Terror; soundscape; affordance; Gibson; space | ||
| Grimshaw | Mark | The Acoustic Ecology of the First-Person Shooter: The Player Experience of Sound in the First-Person Shooter Computer Game | Saarbrücken: VDM Verlag Dr. Mueller | 2008 | Monograph (adaptation of PhD) | CompSci Academic | perception; ecology; first-person shooter; audio design; Urban Terror; soundscape; affordance; Gibson; space | ||
| Grimshaw | Mark | Game Sound: Game Sound Technology and Player Interaction: Concepts and Developments | ershey, Pa: Information Science Reference | 2010 | Edited Collection | CompSci Academic | See individual entries | ||
| Grimshaw | Mark | Craig A. Lindley, Lennart Nacke | Sound and Immersion in the First-Person Shooter | International Journal of Intelligent Games & Simulation 5/1 | 2008 | Academic Article | CompSci Academic | first-person shooter; audio design; immersion; procedural audio; technology | |
| Grimshaw | Mark | Craig A. Lindley, Lennart Nacke | Sound and Immersion in the First-Person Shooter:Mixed Measurement of the Player's Sonic Experience | Proceedings of Audio Mostly 2008 | 2008 | Academic Paper | CompSci Academic | Link | first-person shooter; audio design; immersion; procedural audio; technology |
| Grimshaw | Mark | Gareth Schott | A Conceptual Framework for the Analysis of First-Person Shooter Audio and its Potential Use for Game Engines | International Journal of Computer Games Technology | 2008 | Academic Article | CompSci Academic | perception; ecology; first-person shooter; audio design; affordance | |
| Grimshaw | Mark | Gareth Schott | Situating Gaming as a Sonic Experience: The acoustic ecology of First-Person Shooters | Situated Play (2007) Proceedings of DIGRA, Digital Games Research Association, September 24-28, 2007, Tokyo, Japan | 2007 | Academic Article | CompSci Academic | perception; ecology; first-person shooter; audio design; soundscape; affordance | |
| Guerraz | Agnès | Jacques Lemordant | Indeterminate adaptive digital audio for games on mobiles | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 55-72 | 2008 | Academic Article | Music Academic | mobiles; portable; API; audio formats; AMML; interactive; 3D audio; iXMF; programmatic control | |
| Havryliv | Mark | Emiliano Vergara-Richards | From Battle Metris to Symbiotic Symphony: A New Model for Musical Games | University of Wollongong Research Online | 2006 | Academic paper | CompSci Academic | Link | music games; Battle Metris; gamification; John Cage; Iannis Xenakis; game design; |
| Herber | Norbert | The composition-instrument: emergence, improvisation and interaction in games and new media | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 103-123 | 2008 | Academic Article | Music Academic | Spore; Brian Eno; sound garden; interaction; art music; electroplankton; minimalism | ||
| Hermans | Phillip | Cooperation and Competition in Music Composition | Dartmouth College | 2013 | Thesis (Masters) | Music Academic / CompSci | Link | music composition, games, consensus protocol, agent-based modeling, music education | |
| Herz | J. C. | Joystick Nation: How Videogames Gobbled Our Money, Won Our Hearts and Rewired Our Minds | London: Abacus | 1997 | Monograph | Journalistic | History; sound effects; technology development (causal); regional differences of composition; early composition styles | ||
| Hoffert | Paul | Music for New Media: Composing for Videogames, Web Sites, Presentations, and other Interactive Media | Boston, MA: Berklee Press | 2007 | Monograph | CompSci/Music Practical | Composition; technology; middleware; | ||
| Holtar | Nils Iver | Mark J. Nelson, and Julian Togelius | Audioverdrive: Exploring bidirectional communication between music and gameplay | Proceedings of the 2013 International Computer Music Conference | 2013 | Academic Article | CompSci/Music Practical | Link | Composition; bidirectional ; interactive; dynamic music |
| Hoover | Tom | Keeping Score: Interviews with Today's Top Film, Television and Game Music Composers | Boston: Course Technology | 2010 | Monograph | Interview Collection | Composition; interviews; Marty O'Donnell; Winifred Phillips; Inon Zur; Cris Velasco; Jesper Kyd; Jason Graves | ||
| Hug | Daniel | New Wine in New Skins: Sketching the Future of Game Sound Design | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 384-415 | 2011 | Academic Article | CompSci Academic | Technology; development; Hollywood; naturalism; reality; liberation; soundtrack; aesthetics | ||
| Jørgensen | Kristine | A Comprehensive Study of Sound in Computer Games: How Audio Affects Player Action | Lewiston, NY: Mellen | 2009 | Monograph (adaptation of PhD) | CompSci Academic | perception; Warcraft III; Hitman Contracts; history; film music; diegesis; earcons; semiotics; transdiegesis; | ||
| Jørgensen | Kristine | "What are these Grunts and Growls over there?" Computer Game Audio and Player Action | Copenhagen University | 2007 | Thesis (PhD) | CompSci Academic | film music; ecology; perception; interviews; diegesis; transdiegesis | ||
| Jørgensen | Kristine | Audio and Gameplay: An Analysis of PvP Battlegrounds in World of Warcraft | Game Studies 8/2 | 2008 | Academic Article | CompSci Academic | World of Warcraft; earcons; transdiegesis; ecology; function | ||
| Jørgensen | Kristine | On Transdiegetic Sounds in Computer Games | Northern Lights Vol. 5: Digital Aesthetics and Communication | 2007 | Academic Article | CompSci Academic | transdiegesis; diegesis; extradiegesis; meta-communication; film music | ||
| Jørgensen | Kristine | On the Functional Aspects of Computer Game Audio | in Proceedings of the Audio Mostly Conference. Interactive Institute, PiteÃ:¥, Sweden | 2006 | Academic Paper | CompSci Academic | space; transdiegesis; function; earcons; | ||
| Jørgensen | Kristine | Sounds and Sources in Sacred | Proceedings from Cosign 2004. Split, Croatia | 2004 | Academic Paper | CompSci Academic | function; semiotics; Fencott; Sacred; Chion; perception | ||
| Jørgensen | Kristine | Left in the dark: playing computer games with the sound turned off | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 163-176 | 2008 | Academic Article | Music Academic | sound; information; Warcraft III; psychology; sound off; information; Hitman Contracts; stealth; strategy; player responses; empirical; information; orientation; space; virtual world | ||
| Jørgensen | Kristine | Time for New Terminology? Diegetic and Non-Diegetic Sounds in Computer Games Revisited | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 78-97 | 2011 | Academic Article | CompSci Academic | Diegesis; non-diegetic; diegetic; fictionality; terminology; spatial; space; gameworlds | ||
| Kärjä | Antti-Ville | Marketing music through computer games: the case of Poets of the Fall and Max Payne 2 | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 27-44 | 2008 | Academic Article | Music Academic | marketing; copyright; production; licensed music; authenticity; global; local; Max Payne 2; Poets of the Fall | ||
| Kaae | Jesper | Theoretical approaches to composing dynamic music for video games | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 75-92 | 2008 | Academic Article | Music Academic | dynamic music; changes; mixing; segue; linearity; adaptive music; multi-linearity; time | ||
| Kamp | Michiel | Ludic music in video games | Utrecht University | 2009 | Thesis (Masters | Music Academic | Link | ludic music; Juul; narrative; function; puzzles; music games; Caillois; fiction; rules | |
| Kamp | Michiel | Musical Ecologies in Video Games | Philosophy & Technology: | 2013 | Academic Article | Music Academic | Link | perception, James Gibson, ecological psychology, affordances, diegesis | |
| Kassabian | Anahid | Ubiquitous listening | in David Hesmondhalgh and Keith Negus (eds), Popular Music Studies (London: Arnold), 131-142. | 2002 | Academic Article | Music Academic | music technological cultures; modes of listening; subjectivity; technology | ||
| Kayali | Fares | Martin Pichlmair, Petr Kotik | Mobile Tangible Interfaces as Gestural Instruments | 5th International Music Workshop 2008, Vienna, Austria, 05/13/08-05/16/08 | 2008 | Academic Paper | CompSci Academic | Link | tangible interfaces; perception; music games; game design; |
| Kayali | Fares | Gestural Interaction in Music Video Games | :Digital Games: Theory and Design: conference at Brunel University, London, Great Britain, 09/14/07 | 2008 | Academic Paper | CompSci Academic | Link | music games; Guitar Hero; Electroplankton; perception; tangible interfaces | |
| Kayali | Fares | Playing Music: Design, Theory, and Practice of Music-based Games | Vienna University of Technology | 2008 | Thesis (PhD) | CompSci Academic | Link | music games; game design; interviews; Otocky; Parappa the Rapper; Sim Tunes; Vib Ribbon; FreQuency; Rez; Guitar Hero; Electroplankton; Elite Beat Agents; Nintendo DS; interface; kinaesthesia; | |
| Knight | Tim | Mastering Sound and Music on the Atari ST | Berkeley: Sybex | 1987 | Monograph | CompSci Practical | Atari ST; sound design; composition; 8-bit; technology; | ||
| Kohler | Chris | Power-Up: How Japanese Video Games Gave the World an Extra Life | Indianapolis: Bradygames, | 2005 | Monograph | Casual Sociology | history; Japan; interviews; final fantasy; cinematic aesthetic | ||
| Kudisch | Erica | Selected annotated bibliography | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 189-194 | 2008 | Academic Article | Music Academic | Academic; scholarship; bibliography; publications; resources; articles; books | ||
| Lendino | James | Scoring for the Modern Computer Game | Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association | 1998 | Academic Paper | CompSci Academic | Link | composition; dynamic music; technology; middleware; aesthetics; | |
| Liberman | David | Game Enhanced Music Manuscript | in Stephen Spencer (ed.), Proceedings of the 4th International Conference on Computer Graphics and Interactive Techniques in Australasia and South East Asia (GRAPHITE 2006) (Melbourne: ACM Press), 245-250 | 2006 | Academic Paper | CompSci Academic | game-scores; concerts; performance; composition; art; non-linearity | ||
| Liljedahl | Mats | Sound for Fantasy and Freedom | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 22-43 | 2011 | Academic Article | CompSci Academic | Physical environment; voices; senses; immersion; GameFlow; Interactive Institute; Sonic Studio; perception; stimuli; game mechanics | ||
| Linda | O'Keeffe | Sound is Not a Simulation: Methodologies for Examining the Experience of Soundscapes | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 44-59 | 2011 | Academic Article | CompSci Academic | Soundscape; immersion; virtual; navigation; urban spaces; noise; space; design | ||
| Marks | Aaron | The Complete Guide to Game Audio for Composers, Musicians, Sound Designers, and Game Developers 2nd Ed | Burlington, MA and Oxford: Focal Press | 2009 | Monograph | CompSci Practical | composition; sound design; how-to | ||
| Marks | Aaron | Jeannie Novak | Game Development Essentials: Game Audio Development | New York: Delmar | 2009 | Monograph | CompSci Practical | composition; sound design; how-to | |
| Mera | Miguel | Invention/Re-invention | Music, Sound and the Moving Image, 3/1, 1-20 | 2009 | Academic Article | Music Academic | intertextuality; film; cross-mediality; film music; Tomb Raider; Second Life | ||
| Mera | Miguel | An Interview with James Hannigan | Music, Sound and the Moving Image, 3/1, 99-115 | 2009 | Academic Article | Music Academic | composer interview; film music; Harry Potter; leitmotif; dynamic music; composition; technology; | ||
| Miller | Kiri | Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity | Journal of the Society for American Music, 3/4, 395-429 | 2009 | Academic Article | Music Academic | survey; response; Guitar Hero; performance; music games; authenticity; realism; | ||
| Miller | Kiri | Grove Street Grimm: Grand Theft Auto and Digital Folklore | Journal of American Folklore, 121 No. 481, 255-285 | 2008 | Academic Article | Music Academic | ethnography; Grand Theft Auto; performance practice; licensed music; hip-hop; empirical; folklore; | ||
| Miller | Kiri | Jacking the Dial: Radio, Race, and Place in "Grand Theft Auto" | Ethnomusicology, 51/3, 402-438 | 2007 | Academic Article | Music Academic | Grand Theft Auto; culture; radio; licensed music; ethnography; place; hip-hop; rap; avatar; player choice; survey; empirical | ||
| Miller | Kiri | The Accidental Carjack: Ethnography, Gameworld Tourism, and Grand Theft Auto | Game Studies 8/1 | 2008 | Academic Article | Music Academic | Grand Theft Auto; culture; radio; licensed music; ethnography; place; time; history; hip-hop; rap; avatar; player choice; survey; empirical | ||
| Moseley | Roger | Playing games with music, and vice versa: performance and recreation in Guitar Hero and Rock Band | In Nicholas Cook and Richard Pettengill (eds.), New perspective on performance studies: music across the disciplines. Ann Arbor: University of Michigan Press | 2011 (forth.) | Academic Article | Music Academic | Guitar Hero; Rock Band; music games; performance; Caillois; ludus; paidia; virtuosity | ||
| Mullan | Eoin | Physical Modelling for Sound Synthesis | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 340-360 | 2011 | Academic Article | CompSci Academic | Synthesis; technology; realism; procedural audio; physical modelling; run time; intuitive; virtual world; interaction; environments; perception; physics | ||
| Munday | Rod | Music in Video Games | in Jamie Sexton (ed.), Music, Sound and Multimedia: From the Live to the Virtual (Edinburgh: Edinburgh University Press), 51-67 | 2007 | Academic Article | Music Academic | immersion; diegesis; environment; cognitive immersion; mythic immersion | ||
| Murphy | David | Flaithrí Neff | Spatial Sound for Computer Games and Virtual Reality | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 287-312 | 2011 | Academic Article | CompSci Academic | Spatial sound; virtual reality; synthetic environments; mutli-modal spaces; future trends; technology; head related transfer function; implementation; virtual scene | |
| Nacke | Lennart | Mark N. Grimshaw, Craig A. Lindley | More than a feeling: Measurement of sonic user experience and psychophysiology in a first-person shooter game | Interacting with Computers, 22/5, 336-343 | 2010 | Academic Article | Psychology | empirical; experiment; cognitive; psychophysiology; EMG; EDA; GEQ; user experience; Half-Life 2; | |
| Nacke | Lennart E. | Mark Grimshaw | Player-Game Interaction Through Affective Sound | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 264-285 | 2011 | Academic Article | CompSci Academic | Affective activity; aesthetics; sound; emotions; empirical; physiological; psychological; interaction; experience; psychophysiological | |
| Nils | Iver Holtar | Mark J. Nelson, and Julian Togelius | Audioverdrive: Exploring bidirectional communication between music and gameplay | Proceedings of the 2013 International Computer Music Conference | 2013 | Academic Article | Music Academic | Link | dynamic music; interactice; bidirectional; composition |
| Paul | Leonard J. | An introduction to granular synthesis in video games | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 135-149 | 2008 | Academic Article | Music Academic | pure data; Max/MSP; granular synthesis; sound effects; car engines; fades; dialogue; crowd; ambient sound | ||
| Pichlmair | Martin | Fares Kayali | Levels of Sound: On the Principles of Interactivity in Music Video Games | paper at Digital Games Research Association Conference | 2007 | Academic Paper | CompSci Academic | Link | music games; interactivity; game design; dynamic music; quantisation; synaesthesia; Guitar Hero; |
| Pichlmair | Martin | Fares Kayali | Playing Music, Playing Games - Simulation vs. Gameplay in Music-based Games | Vienna Games Conference 2008 'Future and Reality of Gaming' (FROG), Vienna, October 17th-19th, 2008 | 2008 | Academic Paper | Music Academic | Link | music games; interactivity; simulation; performance; Guitar Hero; interface; game design; Huizinga; ludus; paidia |
| Reale | Steven | Chaos in the Cosmos: The Play of Contradictions in the Music of Katamari Damacy | ACT 2/1 | 2011 | Academic Paper | Music Academic | Katamari Damacy; music theory; music analysis; semiotics; kawaii; leitmotif; | ||
| Reiter | Ulrich | Perceived Quality in Game Audio | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 153-174 | 2011 | Academic Article | CompSci Academic | Quality of experience; cross-modal interaction; stimuli; plausibility; interactivity; attention; salience model; experimental; interaction; audio domain; task; empirical | ||
| Roux-Girard | Guillaume | Plunged Alone into Darkness: Evolution and the Staging of Fear in the Alone in the Dark Series | in Bernard Perron (ed), Horror Video Games: Essays on the Fusion of Fear and Play (Jefferson, NC: McFarland & Co), 145-167. | 2009 | Academic Article | CompSci Academic | perception; staging; alone in the dark; horror | ||
| Roux-Girard | Guillaume | Listening to Fear: A Study of Sound in Horror Computer Games | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 192-212 | 2011 | Academic Article | CompSci Academic | Horror; emotion; fear; dread; meaning; sonic structure; gameplay; sound; reception | ||
| Sanders | Timothy | Paul Cairns | Time perception, immersion and music in videogames | Conference paper BCS HCI 2010 | 2010 | Academic Paper | CompSci Academic | Link | time perception; immersion; experience; game design; empirical; psychology; cognition; |
| Sanger | George | The Fat Man on Game Audio: Tasty Morsels of Sonic Goodness | Indianapolis: New Riders | 2003 | Monograph | CompSci Practical | written by composer; compositional philosophy; biography; technique; history; technological development | ||
| Schmidt | Brian L. | Designing sound tracks for coin-op games, or, Computer music for under $65.00 | Proceedings: 1989 International Computer Music Conference. San Fransisco: Computer Music Association, 273-276. | 1989 | Academic Paper | Industry Practical | arcade; composition; sound design; function; technology; sound chips; | ||
| Schütze | Stephan | The creation of an audio environment as part of a computer game world: the design for Jurassic Park - Operation Genesis on the XBOX" as a broad concept for surround installation creation | Organized Sound 8/2, 171-180 | 2008 | Academic Article | Music Academic | sound design; sound installation; space; soundscape; technology; surround sound; | ||
| Shultz | Peter | Music theory in music games | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 177-188 | 2008 | Academic Article | Music Academic | music theory; Dance Dance Revolution; Guitar Hero; analysis; teaching; timing; music games; Schenker; learning; flow; challenge; space; reduction | ||
| Smith | Jacob | I Can See Tomorrow In Your Dance: A Study of Dance Dance Revolution and Music Video Games | Journal of Popular Music Studies, 16/1, 58-84 | 2004 | Academic Article | Music Academic | Dance Dance Revolution; fan culture; competitions; music games; party rap; PaRappa the Rapper; imitation games; rhythm games | ||
| Stockberger | Axel | The Game Environment from an Auditive Perspective. | In Level Up: Proceedings from DiGRA 2003. | 2003 | Academic Paper | CompSci Academic | Link | space; environment; perception; sound design; function; sound objects; acousmatic | |
| Summers | Tim | Playing the Tune: Video Game Music, Gamers, and Genre | ACT 2/1 | 2011 | Academic Article | Music Academic | genre; interaction; musical traditions; alone in the dark; fighting games; strategy games; musical analysis | ||
| Svec | Henry | Becoming Machinic Virtuosos: Guitar Hero, Rez, and Multitudinous Aesthetics | Loading 2/2 | 2008 | Academic Article | Music Academic | postmodern economics; performance; capitalism; Guitar Hero; Rez; empire | ||
| Sweeney | Mark | Analysing Crysis | University of Oxford | 2011 | Thesis (Masters) | Music Academic | dynamic music; mobile form; Crysis; analysis; topic theory; aesthetics; aleatoric composition; | ||
| Tan | Siu-Lan | John Baxa and Matthew P. Spackman | Effects of built-in audio versus unrelated background music on performance in an adventure role-playing game | International Journal of Gaming and Computer-Mediated Simulations, 2/3 | 2010 | Academic Article | Psychology | Audiovisual, Auditory, Cognitive Load, Interactive, Multimedia; psychology; controller; sources of sound | |
| Tessler | Holly | The new MTV? Electronic Arts and 'playing' music | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 13-26 | 2008 | Academic Article | Music Academic | MTV; Grand Theft Auto; licensed music; popular music; promotion; Steve Schnur; industry; marketing; copyright | ||
| Thomas | M. | Music in Video Games | The International Journal of Urban Labour and Leisure 6/1 | 2004 | Academic Article | Industry Analysis | overview; industry; promotion; marketing | ||
| Tinwell | Angela | Mark Grimshaw, Andrew Williams | Uncanny Speech | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 213-234 | 2011 | Academic Article | CompSci Academic | human; characters; speech; virtual characters; uncanny valley; sound; lip-synch; human-likeness; facial expression; cross-modal; fidelity; uncanniness | |
| Toprac | Paul | Ahmed Abdel-Meguid | Causing Fear, Suspense, and Anxiety Using Sound Design in Computer Games | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 176-191 | 2011 | Academic Article | CompSci Academic | emotions; experimental; empirical; fear; suspense; anxiety; Darwinian; James-Lange; cognition; social constructivist; diegetic sound effects; volume; timing; source; synchronization; acoustmatic; untimed | |
| van Elferen | Isabella | Un Forastero! Issues of Virtuality and Diegesis in Videogame Music | Music and the Moving Image 4/2 | 2011 | Academic Article | Music Academic | virtuality; magic circle; flow; hyperreal; ludic; narrative; Guitar Hero; Resident Evil; intermediality; GPS; dynamic music; uncanny; diegesis | ||
| van Geelen | Tim | Realizing groundbreaking adaptive music | in Karen Collins (ed.) From Pac-Man to Pop Music: Interactive Audio in Games and New Media, 93-102 | 2008 | Academic Article | Music Academic | future; adaptive composition; | ||
| Villarreal III | Armando | The Effects of Music on Gameplay and Immersion | MIT | 2009 | Thesis (Masters) | CompSci Academic | Link | experience; immersion; Gears of War; questionnaire; empirical; game design | |
| Weske | Jörg | Digital Sound and Music in Video Games | Online Research Website | 2002 | Academic Research Website | CompSci Academic | Link | history; technology; genre; dynamic music; interview | |
| Western | Gary | Top Score: The Evolution and Significance of Video Game Music | CSU Monterey Bay | 2011 | Academic Paper | Music Academic | Link | music games; history; function; technology; MIDI; culture; chip music | |
| Whalen | Zach | Play Along - An Approach to Videogame Music | Game Studies 4/1 | 2001 | Academic Article | Music Academic | immersion; function; cartoon music; mickey mousing; narrative; Super Mario Bros.; Legend of Zelda; Silent Hill; | ||
| Whalen | Zach | Case Study: Film Music vs. Video-Game Music: The Case of Silent Hill | Jamie Sexton (ed.), Music, Sound and Multimedia: From the Live to the Virtual (Edinburgh: Edinburgh University Press), 68-81. | 2007 | Academic Article | Music Academic | film music; musical function; silence; Silent Hill; horror; radio; static; adaptive music | ||
| Whitmore | Guy | A DirectMusic Case Study for Russian Squares for Windows XP Plus Pack | Todd M. Fay with Scott Selfon and Todor J. Fay (eds), DirectX 9 Audio Exposed: Interactive Audio Development (Plano, Texas: Wordware Publishing), 369-386 | 2004 | Academic Article | CompSci Practical | adaptive music; puzzle games; compositional challenges; sound examples; audio design; case-study; written by composer | ||
| Wilde | Martin D. | Audio Programming for Interactive Games | Oxford and Burlington, MA: Focal Press | 2004 | Monograph | CompSci Practical | how-to; music programming | ||
| Wilhelmsson | Ulf | Jacob Wallén | A Combined Model for the Structuring of Computer Game Audio | in Mark Grimshaw (ed.), Game Sound Technology and Player Interaction: Concepts and Developments (Hershey, PA), 98-130 | 2011 | Academic Article | CompSci Academic | IEZA-framework; audio building; film sound; affordance; Murch; Gibson; Huiberts; van Tol; layering; encoded; embodied' cognition' functionality; loudness; frequency range; F.E.A.R.; Warcraft III; Legend of Zelda; tollset; production; structure; game design document | |
| Wood | Simon | Video Game Music - High Scores: Making Sense of Music and Video Games | Graeme Harper, Ruth Doughty and Jochen Eisentraut (eds), Sound and Music in Film and Visual Media: An Overview (New York and London: Continuum, 129-148 | 2009 | Academic Article | Music Academic | Tom Clancy's Splinter Cell; adaptive music; narrative; states; film music | ||
| Wooler | Rene | Andrew R. Brown, Eduardo Miranda, Rodney Berry, Joachim Diederich | A framework for comparison of processes in algorithmic music systems | Generative Arts Practice (Sydney: Creativity and Cognition Studios Press), 109-124 | 2005 | Academic Article | CompSci Practical | generative music; dynamic music; algorithmic music; composition; middleware; software design | |
| Youngdahl | Erik | Play Us a Song: The Structure and Aesthetics of Music in Video Games | Wesleyan University | 2010 | Thesis (Undergraduate) | Music Academic | Link | aesthetics; experience; immersion; dynamic music; atmosphere; Legend of Zelda; PaRappa the Rapper; Rock Band | |
| Zehnder | Sean M. | Scott Lipscomb | The Role of Music in Video Games | Peter Vorderer and Jennings Bryant (eds), Playing Video Games: Motives, Responses and Consequences (Mahwah, New Jersey and London: Lawrence Erlbaum Associates, Publishers), 241-258. | 2006 | Academic Article | Psychology | psychology; genre; empirical surveys; communication; perception; musical options; applied aesthetics | |
| Zehnder | Sean M. | Scott Lipscomb | Immersion in the Virtual Environment: The Effect of a Musical Score on the Video Gaming Experience | Journal of Physiological Anthropology and Applied Human Sciences 23/6, 337-343 | 2004 | Academic Article | Psychology | Link | immersion; film music; cognition; perception; virtual environment |
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