{"title":"Music versus Sound Design","authors":"Noah Kellman","doi":"10.1093/oso/9780190938680.003.0007","DOIUrl":null,"url":null,"abstract":"Each video game has its own unique, visual aesthetic, and it’s up to the composer to complement this visual world by creating a sonic atmosphere. Many of the greatest games have incorporated musical elements into their sound effects and ambiences. As the field of game music continues to grow, so does the importance of sound design as part of the composer’s skill set. This chapter explores how music and sound effects have interacted throughout the history of game music, defining these relationships for the reader in understandable terms with clear distinctions and accessible examples. This chapter explores FEZ (2012) as an example, along with a variety of other examples in which the music and sound effects were conceived with different levels of interconnectivity.","PeriodicalId":325867,"journal":{"name":"The Game Music Handbook","volume":"19 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Game Music Handbook","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190938680.003.0007","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Each video game has its own unique, visual aesthetic, and it’s up to the composer to complement this visual world by creating a sonic atmosphere. Many of the greatest games have incorporated musical elements into their sound effects and ambiences. As the field of game music continues to grow, so does the importance of sound design as part of the composer’s skill set. This chapter explores how music and sound effects have interacted throughout the history of game music, defining these relationships for the reader in understandable terms with clear distinctions and accessible examples. This chapter explores FEZ (2012) as an example, along with a variety of other examples in which the music and sound effects were conceived with different levels of interconnectivity.