The preliminary programme below is subject to change. Information on registration and how to join online can be found here. Attendance is free of charge.
Please note: All times in the schedule are in UTC!
Day 1: 23rd April
|12:00–13:30||Session 1 – Links to the Past: Histories and Remediation|
1. Martine Mussies – Neo-Medieval Covers of Game Musics
2. Mark R. Johnson – Music and Copyright in YouTube and Twitch Gaming Videos
3. James Cook – Kingdom Come: Deliverance and the Aesthetics of Authenticity
|14:00–15:00||Keynote Session – Hillegonda Rietveld|
Professor of Sonic Culture at London South Bank University
“Digital Muse: Game Culture Enters the Dancefloor”
|15:30–17:00||Session 2 – Resources, Environments and Production|
1. Kate Galloway – Sounds of Extraction, Pixelated Natural Resources, and Animating Multi-Species Ecologies
2. Hyeonjin Park and Jordan Hugh Sam – Can the Pikmin Speak?
3. Ariel Grez Valdenegro (LUDUM group) – Music and sound from Chilean producers: poetics, production conditions, and reception.
|18:00–19:30||Evening Session – Tuning into Chiptune|
1. Brent Ferguson – Turning Theory into Practice: Composing the Score for Mystiqa: The Trials of Time
2. Dominique Pelletier – Situating chiptune as historical music
3. Kurt James Werner – Noise- and Resonance-Based Advances in 1-Bit Sound Synthesis
|– End of Day 1 –|
Day 2: 24th April
|12:00–13:30||Session 3 – Dancing and Moshing: Performing in and with Games|
1. Lidia López Gómez – Flamenco y Olé! Musical representation of the national identity in Spanish-located video games
2. Mohammad Reza Azadehfar and Afsaneh Yadaei – Music Composition through Choreography Computer Gaming: Case of Azerbaijani Traditional Dance
3. Karina Moritzen – Opening up Virtual Mosh Pits: Music Scenes and In-game Concerts in Fortnite and Minecraft
|14:00–15:00||Keynote Session – Markus Zierhofer|
Composer of The Wagadu Chronicles and founder of AudioCreatures
|15:30–17:00||Session 4 – Starts, Stops and the In-Between|
1. Sara Bowden – Thank you for Dying: Sound Affects and Musical Disorientations in Strobophagia
2. Björn Redecker – Music as a Boundary Object
3. James Newman – Fearful Harmonies
|18:00–19:30||Evening Session – Learning from Practice|
1. Dragica Kahlina – Tutorial/Practice Session: Procedural Music with Unity and CSound
2. Christof Ressi – Lecture Performance
|– End of Day 2 –|
Day 3: April 25th
|12:00–13:30||Session 5 – Japan, Music and Culture|
1. Lasse Lehtonen – Kōichi Sugiyama, Japanese music history, and the origins of game music concerts
2. Mattia Merlini – Eclectic Tennō: Japanese Video Game Soundtracks as Agents of Postmodernity
3. Barbora Smirinova – Creative Convergence in the Touhou Project fandom: Assessing factors and networks fostering productive fan music creation within the Touhou Project series
|14:00–15:00||Keynote Session – Poornima Seetharaman|
Carnatic music enthusiast, Lead Game Designer at Zynga and Ambassador of Women in Games (WIGJ)
|15:30–17:30||Session 6 – Depicting Worlds and Cultures|
1. Stefan Greenfield-Casas – Worldbuilding Through Preexisting Music and Remediation in the Kingdom Hearts Series
2. Thomas Yee – Racialized Fantasy: Authenticity, Appropriation and Stereotype in Super Mario Odyssey
3. Ross Mitchell – “Fifty Shades of White”?: The Witcher III’s Pa(ga)n-Slavism
4. Millicent Gunn – The Soundscape of Alola: Exploring the use of Hawaiian and Polynesian musical tropes and diegetic signifiers in the world of Pokémon Sun and Moon
|18:30–19:30||Evening Session – tba|
|– End of conference –|
Update, 1st March 2021: Registration is now open and submissions will no longer be considered.
delighted to announce that we are now accepting submissions for our 2021 conference. The conference will take place online, on the 23–25 April, 2021. The deadline for proposals is 8th January 2021.
Find out more on our conference page here!
As usual, 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 ‘Where in the world is video game music? Geographies, Cultures, and Regions of Game Music’.