Book contents
- The Cambridge Companion to Video Game Music
- Cambridge Companions to Music
- The Cambridge Companion to Video Game Music
- Copyright page
- Contents
- Figures
- Tables
- Musical Examples
- Contributors
- Preface
- A Landmark Timeline of Video Game Music
- Foreword: The Collaborative Art of Game Music
- Introduction
- Part I Chiptunes
- 1 Before Red Book: Early Video Game Music and Technology
- 2 Chiptune, Ownership and the Digital Underground
- 3 Waveform Wizard: An Interview with Composer Junko Ozawa
- Part II Creating and Programming Game Music
- Part III Analytical Approaches to Video Game Music
- Part IV Realities, Perception and Psychology
- Part V Game Music, Contexts and Identities
- Part VI Beyond the Game
- 24 Producing Game Music Concerts
- Select Bibliography
- Index
1 - Before Red Book: Early Video Game Music and Technology
from Part I - Chiptunes
Published online by Cambridge University Press: 15 April 2021
- The Cambridge Companion to Video Game Music
- Cambridge Companions to Music
- The Cambridge Companion to Video Game Music
- Copyright page
- Contents
- Figures
- Tables
- Musical Examples
- Contributors
- Preface
- A Landmark Timeline of Video Game Music
- Foreword: The Collaborative Art of Game Music
- Introduction
- Part I Chiptunes
- 1 Before Red Book: Early Video Game Music and Technology
- 2 Chiptune, Ownership and the Digital Underground
- 3 Waveform Wizard: An Interview with Composer Junko Ozawa
- Part II Creating and Programming Game Music
- Part III Analytical Approaches to Video Game Music
- Part IV Realities, Perception and Psychology
- Part V Game Music, Contexts and Identities
- Part VI Beyond the Game
- 24 Producing Game Music Concerts
- Select Bibliography
- Index
Summary
There can be no doubt that interest in video game music has grown considerably in recent years. It is notable that this passion is not reserved only for the latest releases, but extends back to the earliest days of the form, with as much praise heaped upon 1980s Commodore 64 or 1990s Amiga 500 music as on the high-profile symphonic soundtrack du jour. Contemporary game developers, such as Terry Cavanagh, underscore games like vvvvvv (2010) and Super Hexagon (2012) with soundtracks that draw directly on the early home computing and console instrumentation and form. In doing so, they demonstrate their own fandom, as well as a desire to draw on the distinctive aesthetics of early gaming and their association with an era of putatively simple yet unabashedly complex gameplay. We further note exhaustive online archival collections such as the HVSC (High Voltage SID Collection) or VGMrips that gather together music files extracted from original game code.
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- Information
- The Cambridge Companion to Video Game Music , pp. 12 - 32Publisher: Cambridge University PressPrint publication year: 2021
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