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Finding meaning in data: Using data elements to sonify and visualize the found environment 在数据中寻找意义:使用数据元素来美化和可视化所发现的环境
The Soundtrack Pub Date : 2016-12-01 DOI: 10.1386/ts.9.1-2.73_1
Sze Tsang
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引用次数: 0
Further seductions: ‘Mrs. Robinson’, post-Graduate 进一步的诱惑:“Mrs。罗宾逊,研究生
The Soundtrack Pub Date : 2015-12-11 DOI: 10.1386/ST.7.2.133_1
Jonathan Godsall
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引用次数: 0
Checkpoint!: The floodgates have opened. Report on the North American Conferences on Video Game Music 关卡!当前位置洪水的闸门已经打开。北美电子游戏音乐会议报告
The Soundtrack Pub Date : 2015-10-01 DOI: 10.1386/ST.8.1-2.99_1
Steven B. Reale
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引用次数: 1
From Mixtapes to Multiplayers: Sharing Musical Taste Through Video Games 从混音带到多人播放器:通过电子游戏分享音乐品味
The Soundtrack Pub Date : 2015-10-01 DOI: 10.1386/st.8.1-2.77_1
M. Austin
{"title":"From Mixtapes to Multiplayers: Sharing Musical Taste Through Video Games","authors":"M. Austin","doi":"10.1386/st.8.1-2.77_1","DOIUrl":"https://doi.org/10.1386/st.8.1-2.77_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134058824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The reality paradox: Authenticity, fidelity, and the real in Battlefield 4 现实悖论:《战地4》的真实性、保真性和真实性
The Soundtrack Pub Date : 2015-10-01 DOI: 10.1386/ST.8.1-2.57_1
Richard Stevens, D. Raybould
{"title":"The reality paradox: Authenticity, fidelity, and the real in Battlefield 4","authors":"Richard Stevens, D. Raybould","doi":"10.1386/ST.8.1-2.57_1","DOIUrl":"https://doi.org/10.1386/ST.8.1-2.57_1","url":null,"abstract":"This article examines how the ‘Battlefield’ (EA Games) series of games generates authenticity in its soundtrack both through a meticulous approach to modelling the physical world and through the appropriation of audio characteristics from our, typically mediated, experience of conflict. It goes on to examine how we might reconcile such ‘authentic’ audio with the more ludic features of the soundtrack, required to support gameplay, that are typically presented as inauthentic. The absence of these sounds during narrative-based sequences and the acceptance of them without negative impact on immersion during gameplay implies that these inauthentic sounds appear not to disrupt the immersive qualities of the ‘authentic’ but only when clearly positioned as ego-ludic (heard only by the player, non-spatialized and synthetic in quality) and only within the context of challenge-based sequences of the game.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114675388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 6
‘From Russia with Fun!’: Tetris, Korobeiniki and the ludic Soviet “来自俄罗斯的乐趣!”《俄罗斯方块》、《Korobeiniki》和滑稽的苏联
The Soundtrack Pub Date : 2015-10-01 DOI: 10.1386/st.8.1-2.7_1
Dana Plank-Blasko
{"title":"‘From Russia with Fun!’: Tetris, Korobeiniki and the ludic Soviet","authors":"Dana Plank-Blasko","doi":"10.1386/st.8.1-2.7_1","DOIUrl":"https://doi.org/10.1386/st.8.1-2.7_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"136 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131881149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Torched song: The hyperreal and the music of L.A. Noire 火炬之歌:超现实和洛杉矶黑色音乐
The Soundtrack Pub Date : 2015-10-01 DOI: 10.1386/ST.8.1-2.41_1
Andra Ivnescu
{"title":"Torched song: The hyperreal and the music of L.A. Noire","authors":"Andra Ivnescu","doi":"10.1386/ST.8.1-2.41_1","DOIUrl":"https://doi.org/10.1386/ST.8.1-2.41_1","url":null,"abstract":"Film noir is a genre that is essentially conflicted: not only does it have both love and death at its essence, but it is also a story about impending failure enveloped in style, beauty and smoke. This contradictory core is also reflected in a number of ways in the paradoxes of one of the most prominent noir games of recent years, the appropriately titled L.A. Noire (Team Bondi and Rockstar Games, 2011): the seemingly open world contradicts the linear narrative and, while the gameworld is firmly rooted in a meticulously researched historical past, it is also heavily stylized and grounded in a cinematic legacy. This is also reflected in the music of the game: along with the original soundtrack composed by Andrew and Simon Hale (with additional songs written by The Real Tuesday Weld), borrowed music helps place the game both in a particular place and time and in a particular genre. In this article, I explore the multiple functions that music plays in L.A. Noire , acting as temporal signifier but also reflecting the themes and tropes of film noir. Finally, I argue that Baudrillard’s concept of the hyperreal can be used to better understand how appropriated music in video games relates to music history.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126263730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Aesthetics and social interactions in MMOs: The gamification of music in Lord of the Rings Online and Star Wars: Galaxies mmo游戏中的美学和社交互动:《指环王Online》和《星球大战:星系》音乐的游戏化
The Soundtrack Pub Date : 2015-10-01 DOI: 10.1386/ST.8.1-2.25_1
Mark Sweeney
{"title":"Aesthetics and social interactions in MMOs: The gamification of music in Lord of the Rings Online and Star Wars: Galaxies","authors":"Mark Sweeney","doi":"10.1386/ST.8.1-2.25_1","DOIUrl":"https://doi.org/10.1386/ST.8.1-2.25_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131200295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Audio-visual moiré patterns: Phasing in Guy Sherwin’s Optical Sound films 视听变化模式:盖伊·舍温的光学有声电影中的相位
The Soundtrack Pub Date : 2014-04-01 DOI: 10.1386/ST.7.1.47_1
Aimee Mollaghan
{"title":"Audio-visual moiré patterns: Phasing in Guy Sherwin’s Optical Sound films","authors":"Aimee Mollaghan","doi":"10.1386/ST.7.1.47_1","DOIUrl":"https://doi.org/10.1386/ST.7.1.47_1","url":null,"abstract":"British experimental film-maker Guy Sherwin’s Optical Sound films from the 1970s explore the corporeal correspondence between sound and image through a transposition of the optical soundtrack into the visual images presented on-screen. These films are fundamentally a series of experiments investigating not only the relationship between sound and image, but also the essence and materiality of film itself. Sherwin asserts that his Optical Sound films have three discernible influences on them: the rigorous structuralism of the London Filmmaker’s Co-operative of the 1970s, the idea of aural/visual equivalence and Steve Reich’s contemporaneous musical experiments with sound phasing. Bearing this assertion in mind, this article intends to explore how Sherwin’s films, such as Phase Loop (Sherwin, 1971, 2007), subvert conventional notions of sound and synchronization in the film form from the vantage point of structural/materialist film theory. Further to this, it will also consider the influence of Reich’s use of phasing, looping and his stress on the importance of process in the structuring of material in order to assess the effects of perceptual shifts as extended to the audio-visual experience by Sherwin.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131570585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The Celtic Tiger ‘Unplugged’: DV realism, liveness, and sonic authenticity in Once (2007) 凯尔特之虎“不插电”:DV现实主义、活跃性和声音真实性
The Soundtrack Pub Date : 2014-04-01 DOI: 10.1386/ST.7.1.25_1
Nessa Johnston
{"title":"The Celtic Tiger ‘Unplugged’: DV realism, liveness, and sonic authenticity in Once (2007)","authors":"Nessa Johnston","doi":"10.1386/ST.7.1.25_1","DOIUrl":"https://doi.org/10.1386/ST.7.1.25_1","url":null,"abstract":"Once (2007) is described by its director Carney as ‘a modern day musical’, eschewing the elaborately staged set-pieces associated with the film musical genre in favour of a more intimate style in which the songs arise ‘naturalistically’. Depicting the friendship between two musicians towards the end of ‘Celtic Tiger’-era Dublin, the film won critical acclaim and commercial success worldwide, confounding expectations of such a low-budget feature, shot cheaply on digital video. The commercial success of Once exemplifies the ‘rags-to-riches’ heroics of shoestring feature production in the millennial digital era. Yet the narrative of Once is paradoxically uneasy with digital technology and instead articulates what Philip Auslander (and others) term ‘rock authenticity’, fetishizing the ‘live’, the ‘lo-fi’ and the ‘acoustic’ in music. The overall approach to the sound of the film aspires towards ‘liveness’, as the use of location sound recording for the song sequences provides a particular textural quality that incorporates background noise and environmental reverberation, or ‘materializing sound indices’. This article uses analysis of the construction of sound space and sound-image relations in Once to demonstrate how this formal approach works with the narrative to communicate texturally a particular notion of ‘authenticity’ and ‘liveness’ of the film. This will be supplemented with analysis of discourses of authenticity used in the film’s publicity.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":"241 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123308071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
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