Author: Michiel Kamp

Ludo2023 Call for Papers

The Ludomusicology Research Group is pleased to announce the Ludo2023 Twelfth European Conference on Video Game Music and Sound, to be held at the University of Edinburgh, 23-25 March next year. The organizers of Ludo2023 are now accepting proposals for research presentations.

We welcome proposals on all aspects of sound and music in games.

This year, we are particularly interested in papers that support the conference theme of ‘Sound and Music Beyond the Human’. Papers on this topic may include:
➢ Monstrosity, horror and the gothic
➢ Cyborgs and the machinic
➢ Transhumanism and posthumanism
➢ Non-human speech and voices
➢ Aliens and alterity
➢ Artificial intelligences and non-human agencies
➢ Dehumanising sounds
➢ Fantastic creatures and cosmic horror
➢ Uncanny voices and synthetic sounds
➢ Supernatural sound and music
➢ Creatures, fantastic and otherwise

Presentations should last twenty minutes and will be followed by questions. Please submit your paper proposal (c.250 words) with a short provisional list of literature by email to ludomusicology@gmail.com by January 6th, 2023. We aim to communicate the programme decisions by January 20th, 2023. If you require more information, please email the organizers.

We encourage practitioners and composers to submit proposals for showcasing practice as research. The conference will be held in person, but with remote access options available.

www.ludomusicology.org | #ludo2023
Hosted by James Cook, Reid School of Music, Edinburgh College of Art.
Organized by Melanie Fritsch, Andra Ivănescu, Michiel Kamp & Tim Summers.

Ludo2022 Call for Papers

The Ludomusicology Research Group is pleased to announce the Ludo2022 Eleventh European Conference on Video Game Music and Sound, to be held in person at Royal Holloway, University of London, 21-23 April next year, with remote access options available.

Please share our Call for Papers poster online and around your institutions.

We welcome proposals on all aspects of sound and music in games.

This year, we are particularly interested in papers that support the conference theme of ‘Music, Myth, and Magic in Video Games’. Papers on this topic may include:

  • Narrative and storytelling in soundtracks
  • Medievalism, folklorism, and other forms of musical representation
  • Performativity, performance, and spectacle
  • Game music and the fantastical
  • Sound and music and/as magical interaction
  • Power, control, and ability in games and audio
  • Negotiating realism with games and sound

Presentations should last twenty minutes and will be followed by questions. Please submit your paper proposal (c.250 words) with a short provisional list of literature by email to ludomusicology@gmail.com by January 14th, 2022. We aim to communicate the programme decisions by January 28th, 2022. If you require more information, please email the organizers.

We encourage practitioners and composers to submit proposals for showcasing practice as research.

We are delighted to announce that a keynote address will be given by Professor Karen M. Cook (Hartford University). Professor Cook specialises in the history and theory of late medieval music and the study of video game music, especially with regard to aural depictions of the historical and fantastical past. Her publications include ‘Medievalism and emotions in video game music’, ‘Beyond (the) Halo: Chant in Video Games’, and ‘Music, History, and Progress in Sid Meier’s Civilization IV’.

Organized by Melanie Fritsch, Andra Ivanescu, Michiel Kamp, Tim Summers, & Mark Sweeney.

Ludo2020 Call for Papers

We are now accepting proposals for Ludo2020 , the Ninth European Conference on Video Game Music and Sound, taking place at the University of Malta, April 24th-25th next year.

Please share our Call for Papers poster online and around your institutions.

We welcome proposals on all aspects of sound and music in games.

This year, we are particularly interested in papers that support the conference theme of ‘Participation, Performance, and the Body’. Papers on this topic may include:

  • Representations of the body through sound and music in games
  • Performance of gender/sexuality and game sound
  • Physical interactivity with music and games
  • Dance and drama as lenses for conceptualizing game audio
  • Voice and game sound
  • Game music and accessibility

Presentations should last twenty minutes and will be followed by questions. Please submit your paper proposal (c.250 words) with a short provisional bibliography by email to ludomusicology@gmail.com by January 6th 2020. We aim to communicate the programme decisions by January 20th 2020. If you require more information, please email the organizers.

We encourage practitioners and composers to submit proposals for showcasing practice as research.

The conference will feature as a keynote speaker:

Prof. Hillegonda Rietveld, Professor of Sonic Culture at London South Bank University, musician and electronic music specialist, co-editor of the special issue ‘Hear the Music, Play the Game’ for GAME.

And more to be announced…

Hosted by Costantino Oliva, Institute of Digital Games, University of Malta.

Organized by Melanie Fritsch, Michiel Kamp, Tim Summers & Mark Sweeney.

French ludomusicology today: Something that was born some time ago, but we are not quite sure of what is it yet

By Fanny Rebillard and Antoine Morisset

What is French ludomusicology? It is kind of difficult to define a field yet to discover. This observation is what actually led to the French bibliography project that recently joined the SSSMG bibliography page. Strangely, the French ludomusicologist tends to be a wild species that never seems to cross his fellow’s path. This is connected to the fact that there is actually no official stronghold for this discipline: we came from all kinds of musicology faculties. Each of us had to deal, at some point, with a feeling of isolation within the great world of musicology. Are you studying the sacred XXth century field, its inner revolutions, or the birth of electroacoustic music? Do you prefer the popular music studies point of view? Or maybe you are a specialist in medieval analysis that has gone mad/an intuition and is now madly searching for occurrences of Landini cadences in adventure games? Can it be that you chose a new unrelated research field, such as records management or the sciences of education, and try to study videogame music from this unexpected perspective?

Sadly enough, all these fields within French musicology tend to be folded in on themselves. Our links are even more stretched as “la Musicologie” covers a wide range of disciplines and approaches once you are preparing a master’s degree or a PhD: a musicologist, in France, is not necessarily a music theory specialist. There are historians, sociologists, psychologists, mathematicians, and computer scientists… Without any French rendez-vous dedicated to the matter of music in videogames, most of the ludomusicologists will have only two choices when it comes to meeting people from the same sphere. First, they can attend meetings from their musicological field of origin and try to explain how game theory can be of interest from this point of view – if explaining the basis of ludology doesn’t take up all the speaker’s time. They also can go to global game studies conferences where every field is welcome, such as the annual MiG (Montpellier in Games) show, or one of the many activities in Lausanne and Liège University, in Swiss and Belgium.  But the legend says that there never were two ludomusicologists at the same time in one of these events (the « why » of this curse is still to be answered…).

“Why don’t they join us?”, you say? Well, if you never see any French ludomusicologist at the NACVGM or at any other English-speaking conference, there is actually two reasons. The first, and the saddest one, is that the French research field is in bad condition. Many universities are regularly on a strike because (amongst other problems) they lack money : most of the lecturers are never paid on time, if they are paid, and research grants are becoming increasingly rare. In this gloomy atmosphere, humanities and art programs are the most neglected, so there is little chance for a ludomusicologist to be funded for their PhD or any expensive symposium trip (and if a grant opportunity exists, there is a 75% probability that they’ll hear about it after they come back). The second and most laughable reason you don’t see many of us outside a French-speaking country is that we do have a problem with foreign languages. Most of us have cold sweat at the simple idea of speaking English in front of an audience. This is probably an early educational problem, but it is quite real: if you are not able to have a perfect accent (but which one? No one knows…), and to make complex puns and not a single grammatical mistake, you are convinced that you are an embarrassment and that everybody will despise you as a researcher.

Further, there are not many publications from French ludomusicologists, and if they exist, these ones are hidden in some obscure journals that are not easy to guess, and difficult to obtain. For example, we’d never heard of Arnaud Saura-Ziegelmeyer’s  article on the acoustic representations of Antiquity in videogames (https://books.openedition.org/momeditions/3359) until it was brought to us by people who attended the symposium. It was published as a special issue in a journal about popular culture and Antiquity, by authors close to archaeology, that are not very well-known in our field. Besides, until now, we can say that most of the French ludomusicologists had no idea that others exist, or if they did, they were nothing but distant figures to cite amongst a vast majority of English-speaking references. Some of us use small personal websites to talk about our work (such as Mickael Blum’s website, or some articles by Fanny Rebillard on www.musicaludi.fr), but most of the time, they are not well known and we don’t communicate much on social media. Most of the actual broadcasts and podcasts speaking on the subject are run by people who don’t necessarily relate to the academic research field. There is actually an important community of VGM lovers, who have a great knowledge of this world, but will never dare to dip their toe in this intimidating perspective that is ludomusicology. However, these people have been very important, in France, for promoting and upholding this musical culture. These last years, some events (such as the videogame music concert cycle at Paris’ Philharmonie in 2017) elevated videogame music to a higher status in the musical field. It is gradually coming out of the “beep-boop (not be-bop) funny but somewhat very nostalgic” zone and has garnered consideration as something complex and worthy of interest. This year, some of us have been contacted to speak about ludomusicology and the basis of videogame music history in front of academic and non-academic audiences. We realized that there is a strong interest in ludomusicology, not only in France but in other French-speaking countries and districts: Belgium, Switzerland, Québec, etc.

Maybe, thanks to these people and events who set out the whole thing, the French ludomusicologists are finally coming out of their den. Beyond that, the fortunate meeting of a few of us, and the common finding that our references in our native language were completely split between us, led to the brilliant – and very late – idea to gather and to share the latest news in the field. That is why we put all of our bibliographic references into one Google-doc, opened a Discord server, and sent messages to our musicology-related email lists, hoping to reach for as many interested French-speaking people as possible. We wished to stay open-minded. That is why we also included publications from non-specialized authors, or video interviews and websites of composers. We believe that these elements can be of great value to study the late rise of French ludomusicology. So far, the operation is a success, but the vast majority of the titles we listed until now are yet to be read by many of us. There is currently no state of the art, but we hope it is a matter of time before we learn more about it. Finally, our wish is that all this will motivate young French ludomusicologists to stand out, collaborate abroad, and to reveal their work.

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