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RQ PRESENTATION

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Neil Cullen
Neil Cullen

The document discusses dynamic adaptive music for games. It summarizes current methods used for game music and their effectiveness. It proposes researching and creating a game demo with a programmed music engine that reacts to player actions with variable tempo, pitch, and other musical elements. The goal is for the music to enhance the gaming experience through dynamic changes akin to an AI conductor, rather than traditional static or looping scores. References on the topic are also included.

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Provisional Supervisors: Kenny McAlpine (Henry Fortuna)
Dynamic Adaptive Music Games are not films! We should be wary of the "colonization of game studies by theories from other fields" (cited in Kerr 2006, p. 33). Static Score can never fully represent on going narrative. Still it is being used. Investigate current methods and their effectiveness and carry out experimental research.
A personal history with music. Past projects. Recent titles have striven to increase the impact of game music. This has sparked the imagination into its future possibilities. Controversially Microsoft has insisted that music in every Xbox360 game should be replaceable with the user's own music files (Harlin 2007, p.53). What does this say about game music in general? Game audio community needs to make music more integral to the experience. Dynamic score is one key.
Research current methods. Create a game demo with a programmed music sequencing and mixing engine that reacts with the player. Variable Tempo, Pitch, Rhythm, Volume, Melody, Harmony, Mixing, Form (branching parameter based). Samples and loops must be chosen intelligently. Akin to an A.I. that decides whether sequencing will work musically and in the context of the game. An A.I. Improvisational Orchestra Conductor if you will. XNA. Good audio compression/Simultaneous sounds.
"Not only have you eliminated the emotional effectiveness of the music by generalizing it and not applying it to a context, but by looping it over and over, you've completely detached the player from even registering it altogether. And what's worse, it usually becomes annoying after a time. Now we've moved down from 'why should we even have music playing here' to 'why shouldn't we turn off the music altogether and listen to MP3s?' Let's be Honest. Why even hire a composer in the first place if the music isn't going to play a functional part in the gaming experience?". Scott B. Morton (2005) on traditional approaches to game score.
Kerr, Aphra (2006). The Business and Culture of Digital Games: Gamework/Gameplay. London: Sage. Morton, Scott B. (2005) "Enhancing the Impact of Music in Drama-Oriented Games." Gamasutra (January 24) http://www.gamasutra.com/features/20050124/morto n_01.shtml. Harlin, Jesse (2007). "Aural Fixation: Does It Sound Next Gen?" Game Developer (February): 47. *Espen Aarseth (scholar who was cited in Kerr)
Kerr, Aphra (2006). The Business and Culture of Digital Games: Gamework/Gameplay. London: Sage. Morton, Scott B. (2005) "Enhancing the Impact of Music in Drama-Oriented Games." Gamasutra (January 24) http://www.gamasutra.com/features/20050124/morto n_01.shtml. Harlin, Jesse (2007). "Aural Fixation: Does It Sound Next Gen?" Game Developer (February): 47. *Espen Aarseth (scholar who was cited in Kerr)

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RQ PRESENTATION

  • 1. Provisional Supervisors: Kenny McAlpine (Henry Fortuna)
  • 2. Dynamic Adaptive Music Games are not films! We should be wary of the "colonization of game studies by theories from other fields" (cited in Kerr 2006, p. 33). Static Score can never fully represent on going narrative. Still it is being used. Investigate current methods and their effectiveness and carry out experimental research.
  • 3. A personal history with music. Past projects. Recent titles have striven to increase the impact of game music. This has sparked the imagination into its future possibilities. Controversially Microsoft has insisted that music in every Xbox360 game should be replaceable with the user's own music files (Harlin 2007, p.53). What does this say about game music in general? Game audio community needs to make music more integral to the experience. Dynamic score is one key.
  • 4. Research current methods. Create a game demo with a programmed music sequencing and mixing engine that reacts with the player. Variable Tempo, Pitch, Rhythm, Volume, Melody, Harmony, Mixing, Form (branching parameter based). Samples and loops must be chosen intelligently. Akin to an A.I. that decides whether sequencing will work musically and in the context of the game. An A.I. Improvisational Orchestra Conductor if you will. XNA. Good audio compression/Simultaneous sounds.
  • 5. "Not only have you eliminated the emotional effectiveness of the music by generalizing it and not applying it to a context, but by looping it over and over, you've completely detached the player from even registering it altogether. And what's worse, it usually becomes annoying after a time. Now we've moved down from 'why should we even have music playing here' to 'why shouldn't we turn off the music altogether and listen to MP3s?' Let's be Honest. Why even hire a composer in the first place if the music isn't going to play a functional part in the gaming experience?". Scott B. Morton (2005) on traditional approaches to game score.
  • 6. Kerr, Aphra (2006). The Business and Culture of Digital Games: Gamework/Gameplay. London: Sage. Morton, Scott B. (2005) "Enhancing the Impact of Music in Drama-Oriented Games." Gamasutra (January 24) http://www.gamasutra.com/features/20050124/morto n_01.shtml. Harlin, Jesse (2007). "Aural Fixation: Does It Sound Next Gen?" Game Developer (February): 47. *Espen Aarseth (scholar who was cited in Kerr)
  • 7. Kerr, Aphra (2006). The Business and Culture of Digital Games: Gamework/Gameplay. London: Sage. Morton, Scott B. (2005) "Enhancing the Impact of Music in Drama-Oriented Games." Gamasutra (January 24) http://www.gamasutra.com/features/20050124/morto n_01.shtml. Harlin, Jesse (2007). "Aural Fixation: Does It Sound Next Gen?" Game Developer (February): 47. *Espen Aarseth (scholar who was cited in Kerr)