Ludomusicology

A little morning quiz: Who made this game? And who created the music? 😊 #ludomusicology #vgm twitter.com/myfritsch/stat…

Despite falling ill, how special it was to spend 3hrs in the company of @SmoothMcGroove @alex_moukala and @purpleschala, in a roundtable for our forthcoming special issue of @ucpress' JSMG on @finalfantasyvii's musical legacy @AnatoneRich, @ASPMusicTheory @Ludomusicology @SSSMG_ Retweeted by Ludomusicology

The Spanish government has recognized #videogames as an inherent part of the country’s cultural heritage! twitter.com/juanp_fdez/sta… Retweeted by Ludomusicology

I’m a bit late on the social media front as I’ve been catching up with a lot in the past week, but I just wanted to say how amazing #ludo22 was and a huge thanks to the @Ludomusicology family for an amazing conference (as always). I’m still buzzing (and bleeping) #chiptune Retweeted by Ludomusicology

Call For Papers: Symposium ‘Musical Retrofuturism in the 21st Century’ held online 18–19 August 2022. They welcome proposals for individual papers: 20 minutes + 10 minutes for questions. Please submit an abstract (c.200 words) to musicalretrofuturism@gmail.com by 31 May 2022. Retweeted by Ludomusicology

Here is my talk on Wagner's sampling of Mendelssohn's Melusine--in light of JRPGs, @docetist's D&D studies, @kodenine's Sonic Warfare, kriegspiel, Kleinian psychoanalytic play therapy, etc-- from last week's @Ludomusicology conference youtu.be/U48SabC9_xk Retweeted by Ludomusicology

Submissions are open for speakers and panelists for #GameSoundCon 2022, Oct 25-26.... in Person! in Los Angeles Accepting speaker submissions on all topics in #gameaudio gamesoundcon.com/submissions Retweeted by Ludomusicology

@jewintle @RHULMusic We do not record the talks, but you can reach out to the speakers (many of them are active here or on the Ludo Discord) and ask whether they have a recording themselves and/or are willing to share the slides. 🙂

btw if any fellow #ludo2022 peeps want a hot tip on cool goings on this eve' come and have a look at twitch.tv/pt1210weekende… < super talented folks DJ'ing with 2x AMIGA's + custom software 🙂 Retweeted by Ludomusicology

#Ludo2022 is over! Thank you all for attending digitally and/or in person! Special thanks to all our presenters and our keynotes Karen Cook and Borislav Slavov! And of course many thanks to @RHULMusic for hosting!

In the final paper of #Ludo2022, Alesha Serada discusses how My Singing Monsters encourages musical creativity through its Composer Island, in relation to players having to "'earn the right' to music" through clicks and grinding.

'How to make a dragon roar?', asks Thomas Hessling. Fabulous creatures and fictional instruments in video games are given voice through the practice of 'sound scraping': combining and editing natural and synthetic sounds based on cultural imaginations. #Ludo2022

Kate Galloway takes us (beyond) bird watching by discussing the representation of the orality of different bird species in Wingspan. #Ludo2022

The Civilization series makes a return to #Ludo2022! Alec Larner investigates the question of authenticity in Civ6's use of traditional Georgian polyphony.

Since #Ludo2022 is this weekend I thought I’d mention that I would be VERY interested in a pitch for an upper level undergrad textbook on ludomusicology… Retweeted by Ludomusicology

Anastasija Gridjuško considers the ways in which music differentiates between the Jungian Ego and Shadow worlds, the conscious and the subconscious, in the Persona series. #Ludo2022

Stephen Tatlow discusses the Guinness World Record holder for 'most music in a published game', Runescape. The game's long musical history and technological developments have created nostalgic feelings and practices for earlier versions of the soundtrack. #Ludo2022

Jennifer Smith argues how Welsh voices and accents are used in video games such as Ni No Kuni to signify a 'magical' otherness within the broader representational practice of Celticism. #Ludo2022

Tomasz Bonikowski discusses Saami culture and its musical representations in Skábma: Snowfall, released just yesterday. The 'joik' singing tradition features prominently in the game. #Ludo2022

The League of Legends discussion is continued by Eulalia Febrer-Coll with a focus on Arcane. The show remediates music from League's other transmedia artefacts and uses recognisable artists such as Imagine Dragons to expand and sell the game's universe. #Ludo2022

Ana Martínez-Martín and Cande Sánchez-Olmos investigate how the official League of Legends music videos employ different aspects of transmedia storytelling: worldbuilding, continuity, drillability, and more. #Ludo2022

Lidia López Gómez talks about the musical moments in Death Stranding, asking to what extent these can be seen as autonomous music videos, especially when transmediated into YouTube videos. #Ludo2022

Looking forward to the final day of #Ludo2022! We have panels on transmediality, cultural representation, and perceiving worlds, finishing the conference with a panel on the sounds and music of magical and non-magical creatures in games.

@floralstrobe We do not record the talks, but you can reach out to the speakers and ask whether they have a recording themselves and /or are willing to share the slides. 🙂

Day 2 of #Ludo2022 concludes with two live musical performances: 'Foley Island' by Nina Whiteman and 'Pulse and Play' by Zubin Kanga and Mark Dyer. For those joining us online, see you tomorrow for the final day!

Through the musical instruments and musical gameplay of the Legend of Zelda series, players are not just progressing through the games, but also directly involving themselves in the games' Hylian religion, according to Milly Gunn. #Ludo2022

David Kanaga follows the ludo-psychoanalytical threads from the endless melodies of the 'Wagner Cinematic Universe' to war games, role-playing games, and video games. #Ludo2022

Every player has their own instrument in the adaptive soundtracks of Borislav Slavov. #Ludo2020

We're playing musical D&D with Borislav Slavov. Through snippets of his soundtracks with different instruments that seamlessly transition into another, he is telling an interactive story in which the #Ludo2020 audience takes part.

Our second keynote speaker is Borislav Slavov, who is composing the music for Baldur's Gate III, having previously worked on the Crysis series and Divinity: Original Sin II. #Ludo2022

A surprise Chris Abbott appears! He talks about the 8-Bit Symphony Project and their performance of the score from the C64 game 'Forbidden Forest'. #Ludo2022

@Le_Symphogeek The panel sessions aren't recorded, but you can perhaps get in touch with the speakers for more information! Or you can follow the conference live via Teams by emailing us for a link at ludomusicology [at] gmail.com.

In our final Hades paper, Demetrius Shahmehri looks at Eurydice's song, 'a ludomusical oasis in a harshly demanding game world'. It feels like we're eavesdropping on an unexpectedly personal musical moment. #Ludo2022

Christopher Hill continues our Hades panel, finding "the most theremy theremin that ever theremined" and other elements in the game's score that playfully comment on Greek mythology. #Ludo2022

In our first Hades paper, Silvia Mantilla-Wright analyses the motifs in the different cues in the game. The interaction between the Mediterranean style and metal aesthetic provide insight into Zagreus' innermost thoughts and feelings. #Ludo2022

For George Reid, the magic of chiptune can predominantly be found in the immediacy and 'rawness' of its timbres. It is the unifying element, the 'enchantment', of all chiptune practices. #Ludo2022

Karina Moritzen recounts the first Brazilian carnival celebration on the Grand Theft Auto V role-playing server Cidade Alta. Brand sponsorships, virtual concerts, and digital vaccinations #Ludo2022

Laryssa Whittaker kicks off the second day of #Ludo2022 with a paper on musical experiences in virtual reality. Audiences have specific expectations based on sociotechnical imaginaries of VR technologies.

Welcome to the second day of #Ludo2022! Today we have panels on player cultures, gods and monsters, and a full panel on the music of Hades. And of course there will be the keynote by Borislav Slavov and a performance session to end the day.

Keep in touch with the @ludomusicology team and the conference conversation using the hashtag #Ludo22! For conversation before and after the conference, consider joining the Discord server at discord.gg/FQTP28KvT2 #ludomusicology #gamestudies #vgm Retweeted by Ludomusicology

And that wraps up the first day of #Ludo2022! Join us again tomorrow for more excellent papers and a keynote by composer Borislav Slavov!

Michael Austin looks for positive sonic representations of drag queens and drag culture in video games, focusing on mobile games based on RuPaul's Drag Race, such as Dragopolis 2.0. #Ludo2022

'How does the lone trumpet on the soundtrack of Disco Elysium represent the ruling ideologies of the supreme social order?', asks Zachary Diaz Lacanianly. #Ludo2022 #Ludo22

Karen Cook's many varied examples of musical medievalism show the ubiquity of these tropes in video games and contemporary soundscapes beyond games. #Ludo2020

Our first keynote speaker @CooksterKC describes how the middle ages have been imagined musically throughout history, from badass bards in the nineteenth century to the hundreds of video games with medieval themes.

James Newman looks at "the Nintendo difference" and "Fisher Price aesthetic" in the startup sounds of the GameCube. With the Z-button on the controllers, one could play around with the musical accompaniment to the startup sequence: ludo-musical easter eggs. #Ludo2022

James Heazlewood Dale explores how standards operate as ludic frameworks in jazz performance. Looping, melodic Nintendo game scores particularly resonate with jazz performers to become modern ludic standards in their own right. #Ludo2022

According to Thorsten Broda, contemporary digital and online chess practices are starting to break the long separation of competitive chess and (background) music. #Ludo2022

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