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 email us at ludomusicology@gmail.com. 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), 362383 | 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, Piteå, 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), 6076 | 2011 | Academic Article | CompSci Academic | diegetic; diegesis; functions; implementation; nonlinearlity; controllability | ||
| Bessell | David | Whats 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) 136144. | 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, 127134 | 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, 153162 | 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, 293334. | 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, 419 | 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, 209227 | 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, 1520 | 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), 263298 | 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, 515 | 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, 110 | 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), 121 | 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), 235263 | 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 | ||
| dEscriván | Julio | Electronic Music and the Moving Image | in Nick Collins and Julio d'Escriván (eds), The Cambridge Companion to Electronic Music (Cambridge: Cambridge University Press), 156170. | 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, 401414 | 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 19982001 (London and New York: Wallflower Press) 2834. | 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, 4754 | 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), 131152 | 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), 181199. | 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), 313339 | 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 artifactsTechnology, 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; | |
| 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 2428, 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, 5572 | 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, 103123 | 2008 | Academic Article | Music Academic | Spore; Brian Eno; sound garden; interaction; art music; electroplankton; minimalism | ||
| 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; | ||
| Hoover | Tom | Keeping Score: Interviews with Todays 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), 384415 | 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, Piteå, 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, 163176 | 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), 7897 | 2011 | Academic Article | CompSci Academic | Diegesis; non-diegetic; diegetic; fictionality; terminology; spatial; space; gameworlds | ||
| 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, 7592 | 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 | |
| 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, 2744 | 2008 | Academic Article | Music Academic | marketing; copyright; production; licensed music; authenticity; global; local; Max Payne 2; Poets of the Fall | ||
| Kassabian | Anahid | Ubiquitous listening | in David Hesmondhalgh and Keith Negus (eds), Popular Music Studies (London: Arnold), 131142. | 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, 189194 | 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), 245250 | 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), 2243 | 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), 4459 | 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, 120 | 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, 99115 | 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, 395429 | 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), 340360 | 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), 5167 | 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), 287312 | 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), 264285 | 2011 | Academic Article | CompSci Academic | Affective activity; aesthetics; sound; emotions; empirical; physiological; psychological; interaction; experience; psychophysiological | |
| 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, 135149 | 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), 153174 | 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), 145167. | 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), 192212 | 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, 177188 | 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, 5884 | 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, 1326 | 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), 213234 | 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), 176191 | 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, 93102 | 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 | Jörge | 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), 6881. | 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), 369386 | 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), 98130 | 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, 129148 | 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), 109124 | 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), 241258. | 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, 337343 | 2004 | Academic Article | Psychology | Link | immersion; film music; cognition; perception; virtual environment |
