Writing Interactive Music for Video Games by Sweet, Michael -- Read -- Imperial Library of Trantor

Index

About This eBook Title Page Copyright Page Praise for Writing Interactive Music for Video Games Dedication Page Contents About This Book Acknowledgments About the Author Introduction

Welcome

Games and Popular Culture Scoring for Games

Intended Audience

Game Development Teams Audio Teams Game Players

Structure of the Book

Part I: Scoring for Games Part II: Fundamental Video Game Scoring Techniques Part III: Advanced Video Game Scoring Techniques Part IV: Bringing Music into the Game Part V: The Business of Scoring Music for Video Games Part VI: Conclusion and Appendixes Digital Tools Companion Website

Conventions Used in This Book

Part I: Scoring for Games

Chapter 1. The Language of Music Storytelling in Games

What Makes a Video Game Unique?

Passive versus Active Interaction Variable Length of Experience Number of Plays Game Mechanics Pacing, Synchronization, and Flow Multiple Story Paths and Repeatability Technology

Types of Music within Games

Extra-Diegetic Music (Underscore) Diegetic Music (Source Music) Music as Gameplay Player Customized Music

Exploring Music Function within Games Synchronization and Integration of Music

Serendipitous Sync

Music Conceptualization

1. Gather and Assess Materials 2. Prioritize Primary Music Objectives 3. Create an Asset List 4. Define Interactive Elements in the Score 5. Create a Supporting Audio Style Guide 6. Create an Audio Design Document 7. Revise

Analysis and Critique of a Game Score Review Exercises

Chapter 2. Breaking Down the Language of Interactive Music

What Is Interactive Music? Types of Interactive Music

Improvisational Construction: Variation and Form Real-Time Composition and Arranging Performance-Based Dynamics and Tempo Changes Experimental Composition Techniques Instrument Design and User Interactive Performance

Control Inputs The Composer’s Toolbox

Cue Switching and Musical Form Adaptation Dynamic Mixing Tempo and Rhythmic Manipulation DSP and Effect Application Stinger and Musical Flourish Additions Instrumentation and Arrangement Alteration Harmonic Approach, Melodic Adaptation, and Note Manipulation

Review Exercises

Chapter 3. Spotting the Game

The Game Production Process The Spotting Process The Goals of a Video Game Music Score

Outlining the Emotional Context and Narrative Arc Structuring Interactive Music throughout Gameplay Synchronization

Video Game Scoring Techniques

Noninteractive Game Score Horizontal Resequencing Vertical Remixing MIDI Scores Advanced Interactive Scores

Music Control Inputs Repetition, Randomization, and Surprise Review Exercises

Chapter 4. Working with a Game Development Team

Who’s in Charge?

Game Development Teams Audio Teams Finding the Composer

Collaborating and Approving the Music

Defining the Tone and Voice of a Game Assessing the Music

Preparing for Music Production

Team Workflow Setting Schedules and Milestones Considering the Technology Sharing Documents Collaboration Technology Game Testing

Review Exercises

Chapter 5. Video Game Composition over the Past 40 Years

Why Video Game History Is Important The Dawn of Coin-Operated Machines

Musical Machines Gambling and Slot Machines Novelty Machines, Shooting Games, and Racing Games Pinball Machines

The Ascent of the Arcade Machine

Circuits The Programmable Sound Generator and the Rise of Melody Laserdisc Games The Golden Age of Arcades Social Arcade Games

The Game Console Revolution

Cartridge-Based Consoles CD-ROM–Based Consoles 128-Bit and DVD-ROM–Based Game Consoles

The Evolution of PC Gaming

MOD Files MIDI Scores (SMF) and Sound Cards iMuse CD-ROM/Redbook Audio

The Rise of Handheld and Network Games

Handheld Game Systems Internet Games Mobile and Cell Phone Games

The Advancement of Audio Middleware

The Beginnings of Audio Middleware Publisher Tools Standards Modern Middleware

The Evolution of the Modern Gaming Platform

Game Engines, Indie Games, and Distribution Game Distribution and Future Cloud Computing

Review Exercises

Chapter 6. Historical Perspective of Experimental Music

The Beginning of Interactive Music Pre-Twentieth Century

J. S. Bach: The Art of Fugue (1740s) Amadeus Mozart: Musikalisches Würfelspiel (1787)

1900–1950

Marcel Duchamp: Erratum Musical (1913) Charles Ives: Concord Sonata (1919) Arnold Schoenberg: Variations for Orchestra, Op. 31 (1928) Henry Cowell: Rhythmicon (1930) and The Banshee (1925) Paul Hindemith: The Craft of Musical Composition (1937) Pierre Schaeffer: Études de Bruits (1948)

Post-1950s

John Cage: Music of Changes (1951) and 4’33 (1952) Pierre Boulez: Structures I (1952) György Ligeti: Musica Ricercata II (1953) Morton Feldman: Projections (1953) Karlheinz Stockhausen: Klavierstücke XI (1956) Krzysztof Penderecki: Threnody to the Victims of Hiroshima (1960) Terry Riley: In C (1964) Earle Brown: Calder Piece (1966) Alvin Lucier: I Am Sitting in a Room (1969) Steve Reich: Clapping Music (1972)

Review Exercises

Part II: Fundamental Video Game Scoring Techniques

Chapter 7. Composing and Editing Music Loops

The Art of Looping Music Musical Construction, Connections, and Cadences Audio Editing

Zero Crossing Points Waveform Shape and Direction Transient and Legato Elements Music Tempo, Meter, and Performance Reverb Tails and Long Decays Crossfading

Auditioning Your Finished Loops Review Exercises

Chapter 8. Horizontal Resequencing

Sequencing Music in Real Time Crossfading Scores Transitional Scores Branching Scores Composing for Horizontal Resequencing

Harmonic and Tempo Considerations Working within the DAW Delivery

Review Exercises

Chapter 9. Vertical Remixing

Remixing Music for Intensity Deciding How Many Layers to Use Types of Vertical Remixing

Additive Layers Individually Controlled Layers

The Art of Fading Layers In and Out

Fade Times Layer Anatomy

Nonsynchronization of Layers Composing for Vertical Remixing Review Exercises

Chapter 10. Writing Transitions and Stingers

Enhancing without Interrupting Connecting Two Pieces of Music

Crossfading Transitioning Transition Matrixes

The Concept of Musical Interruption Composing Transitions

Synchronized Transitions Nonsynchronized Transitions

Transition Construction and Considerations

Ambient (Rubato) versus Rhythmic Tempo Considerations Harmonic Considerations Introducing Destination Music Repeating Transitions

Example Transitions Using and Placing Stingers

Synchronized Musical Stingers Nonsynchronized Musical Stingers

Review Exercises

Chapter 11. Using Sound Design Techniques in Music

What Is Sound Design? Basic Synthesis

Sound Generator Filters Envelopes Low-Frequency Oscillator

Audio Signal Processing Techniques for Creating Sound Design

Recording Live Instruments for a Sampling Session Sending Sounds into Infinite Reverb Using Speakers to Add Acoustic Resonance Using DSP to Create Unusual Sounds

Review Exercises

Chapter 12. Music as a Gameplay Element

Engaging Players with Music Music Games

Beat Matching Performance Simulation Music Mixing and Adaptivity Memory Matching Music Creation and Construction

Level Design, Construction, and Adaptation Instruments in Interfaces and the Game World Diegetic Music in Video Games Music Approaches in Other Games Review Exercises

Part III: Advanced Video Game Scoring Techniques

Chapter 13. MIDI and Virtual Instruments

An Alternative to Prerendered Audio Working with MIDI-Based Scores Using Virtual Instruments Review Exercises

Chapter 14. Real-Time Tempo Variation and Synchronization

Immersing the Player through Tempo Varying Tempo Based on Game Events Tempo Changes with Prerendered Audio Tempo Changes with MIDI or MOD Tempo Synchronization Phrase Synchronization Review Exercises

Chapter 15. Advanced Dynamic Music Manipulation Techniques

Weighing More Expensive Options Melodic Manipulation and Reinterpretation Ensemble, Rhythmic, and Style Alteration Embellishment and Fills Motivic Elements in a Running Score Dynamic Reharmonization and Chord Mapping Building an Event-Driven Sequencer Review Exercises

Chapter 16. Aleatoric Performance Techniques for Video Games

What Is Aleatoric Composition? Aleatoric Techniques

Pitch Rhythm, Tempo, and Form Articulations, Instrumentation, and Dynamics

Review Exercises

Chapter 17. Algorithmic and Generative Music Systems

Using Algorithmic and Generative Music Generating Music

Composer-Defined Rule Sets Knowledge-Based Musical Intelligence

The Rules of Game Composition

Mapping the Harmonic and Rhythmic Framework Melodic and Thematic Development Chord Construction, Counter-Melodies, and Supporting Instruments

Mapping Control Inputs to Music Applying Algorithmic Composition Review Exercises

Chapter 18. Using Middleware to Create Advanced Compositions

Simplifying Composition with Middleware Using Multiple Interactive Techniques Creating Scores Using a Middleware Engine Intelligent Music Engines Looping within a Middleware Engine Variation and Randomization

Random Playlists, Track Variation, and Alternative Start Points Time Variation

Review Exercises

Chapter 19. Creating a Custom Music Solution

Solving Problems with Custom Solutions Limitations of Interactive Techniques Teaching a Computer the Rules of Music Selling the Idea to the Developer Shaping an Interactive Musical Engine

Prototyping the Idea Design and Specification Implementation in the Game

Review Exercises

Part IV: Bringing Music into the Game

Chapter 20. Composing Music with a Digital Audio Workstation

Getting Started with a DAW

Choosing a Sequencer Sequencing Standard MIDI Files MOD File Sequencing

Sequencer Setup and Track Layout

Sample Rate and Bit Depth Track Layout, Submixes, and Stems

Planning for an Interactive Score

Looping Vertical Remixing Horizontal Resequencing Auditioning the Transitions between Cues Organizing the Musical Cues

Transitioning between the DAW and the Game Review Exercises

Chapter 21. Live Recording, Session Preparation, and Mixing

Elevating the Score with Live Musicians Preparing, Orchestrating, and Arranging

Preparing Sequences for an Orchestrator or Arranger

Session Preparation and Planning

Determine the Recording Order of Cues Multitracking Sequence Preparation Preparing for What Can Go Wrong

Exporting a Sequence to Another DAW Session Flow and Practices Time Management Final Mixing and Editing Musicians and Recording

Union Contracts Musician Expenses Musician Releases Recording Studio Expenses

Review Exercises

Chapter 22. Mixing and Exporting Audio Files to the Game Engine

Considerations for Mixing Music for Games Bouncing and Exporting Master Files File Formats and Compression

Audio File Compression Formats Game Audio Formats

Surround Mixing within Games Review Exercises

Chapter 23. Implementation and Programming

Defining the Music Framework The Implementation Process Game Production Methodology

Scheduling and Milestone Delivery Managing Assets and Files Tracking Asset Reviews and Feedback Naming Conventions

Balancing Compression with Quality

Physical Removable Storage Downloadable Games and Onboard Media Storage Onboard Working RAM Online Network Storage Voice Considerations

Allocating Time for Programming

Setting Up the Music Framework and Interactivity Implementing the Hooks Integrating Middleware Solutions

Mixing and Real-Time DSP Review Exercises

Chapter 24. Large-Scale Music Development

Establishing a Unique Creative Direction Unification and Planning Organization, Revisions, and Backups Mapping the Overarching Emotional Arc Integration and Follow-Through Large-Scale Interactive Music Challenges

Closed System (Games on Rails) Open System (Open-World Games) Combat-Triggered Musical Interactivity

Review Exercises

Part V: The Business of Scoring Music for Video Games

Chapter 25. The Life of a Video Game Composer

A Day in the Life of a Game Composer The Business of Scoring Games

Size of the Industry Game Development Game Development Education

Working In-House versus Out-of-House

In-House Composer Part-Time Contractor Freelance and Your Own Music Production Company

Skill Sets Music Production Companies Internships as Entry Points

Learning Experience Relationships Job Conversions

Music Libraries

Justifying Composer Fees Additional Income Streams

Review Exercises

Chapter 26. Contracts, Rights, and Work for Hire

The Legal Side of Composing Non-disclosure Agreements Music Rights and Work for Hire The Project Contract The Employment Contract Demos When Things Go Wrong Federal Forms

Employee Individual (Sole Proprietor) Corporation

Review Exercises

Chapter 27. Creating an Estimate

Proposing Your Talents and Fees Questions for the Developer

Game-Related Questions Audio-Related Questions Budget-Related Questions

Using an Estimate as a Sales Pitch The Psychology of Bidding

Price Presentation and Delivery

The Organization of an Estimate Breaking Music Down into Components

Interactive Music versus Linear Music

Determining How Much Music to Write Knowing How Much to Charge

Calculating the Cost of One Minute of Music Getting to Know the Client

Review Exercises

Chapter 28. Contract Negotiation Tactics

Working for Less Than You’re Worth Collaborating with Developers Renegotiating the Estimate Royalty Arrangements Offering Discounts for Multiple Projects Licensing Additional Rights and Opportunities

Music Publishing and Performance Royalties Guaranteed Work on Derivative Products Screen and Box Credits

Review Exercises

Chapter 29. How Composers Find Work

Building Relationships Networking Informational Interview Video Game Conferences Working for Free Game Developer Organizations Your Website and Blog Social Networking Cover Sheets and Résumés Partnerships Representation and Salespeople Advertising and Public Relations Agencies Review Exercises

Chapter 30. The Challenges of Working as a Composer

Setting Expectations and Goals Traits for Success

Passion Speaking the Language Belief in Yourself Write Music for the Person Signing the Check Reliability Adaptability Entrepreneurship People Skills Talent Humility Objectivity Technical Skills Experience Courage

Competition Handling Rejection and Failure Finances

Expenses and Budgeting Taxes Legal Fees

Review Exercises

Part VI: Conclusion and Appendixes

Conclusion

Where to Go from Here The Future of Game Scoring

Appendix A. Companion Website and Supporting Software Tools

Companion Website Composer Tools

Appendix B. Glossary Appendix C. Game Music Canon

1970 to 1989 1990 to 1999 2000 to 2009 2010 to 2013

Appendix D. Resources

Organizations Game Conferences Web Resources and Podcasts Books

Twentieth-Century Experimental Music Film Scoring Game Scoring Game Audio The Business of Game Scoring and Audio History of Video Game Music Adaptive and Generative Music

Audio Middleware Game Engines and 3D Middleware

Appendix E. Composer Biographies

Index

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