Element contents
Series: Elements in Music since 1945
The Queerness of Video Game Music
Published online by Cambridge University Press: 06 July 2023
Summary
Video game music is a significant site of queerness where normative demands are questioned, suspended or loosened. Games resist hegemonic musical logics, challenge musical value systems and use music to complicate essentialist notions of identity. This Element proposes three areas of queerness, each representing different relationships between 'queer design' and 'queer engagement', ranging fromunintentionally resistive to explicit engagement with identity. First, this Element examines musical structures that provide queer temporal alternatives to normative linear development, and interactive systems that reframe the power relationship between musical material and listener. Second, it considers 'retro' or 'chiptune' timbres that queer notions of technological progress to be improvements, rejecting chrononormativity. Finally, the Element discusses music that queers the self/other binary of identity. Games present ways of listening to, engaging with and understanding music that provide opportunities to challenge inherited assumptions and reductive or monolithic values, practices and identities.
- Type
- Element
- Information
- Series: Elements in Music since 1945Online ISBN: 9781009371421Publisher: Cambridge University PressPrint publication: 03 August 2023
Bibliography
8-Bit Operators. Tribute to the Beatles: Wanna Hld Yr Handheld, Vols. 1 & 2. Receptors Music, Inc., 2014. Online stream.Google Scholar
Ahmaykmewsik. Undertale: The Unofficial Complete Transcription – Unfinished Pre-release Edition (2016). www.reddit.com/r/UndertaleMusic/comments/56ecnh/the_unofficial_complete_transcription_project/.Google Scholar
Ahmed, Sara. Queer Phenomenology: Orientations, Objects, Others. Durham, NC: Duke University Press, 2006.Google Scholar
Aldred, Jessica. ‘Characters’. In The Routledge Companion to Video Game Studies, edited by Wolf, Mark J. P. and Perron, Bernard, 355–63. New York: Routledge, 2014.Google Scholar
Alexander, Jonathan, McCoy, Mack and Velez, Carlos. ‘“A Real Effect on the Gameplay”: Computer Gaming, Sexuality, and Literacy’. In Gaming Lives in the Twenty-First Century, edited by Selfe, Cynthia L., Hawisher, Gail E. and Ittersum, Derek Van, 167–90. New York: Palgrave, 2007.Google Scholar
ApuMonster. ‘Persona 1 Portable PSX Soundtrack Patch’. Reddit, 12 September 2014. www.reddit.com/r/Megaten/comments/2g8e79/persona_1_portable_psx_soundtrack_patch/.Google Scholar
Austin, Michael. ‘Music Games’. In The Cambridge Companion to Video Game Music, edited by Fritsch, Melanie and Summers, Tim, 140–58. Cambridge: Cambridge University Press, 2021.Google Scholar
Austin, Michael. ‘Orchestrating Difference: Representing Gender in Video Game Music’. In Masculinity at Play, edited by Taylor, Nicholas and Voorhees, Gerald, 165–83. London: Palgrave-Macmillan, 2018.Google Scholar
Austin, Michael. ‘“Playas” and Players: Racial and Spatial Trespassing in Hip Hop Culture Through Video Games’. In The Oxford Handbook of Hip Hop Music, edited by Burton, Justin D. and Oakes, Jason Lee, online ed. Oxford Academic, 8 August 2018. https://doi.org/10.1093/oxfordhb/9780190281090.001.0001.Google Scholar
Barker, Sammy. ‘Guide: Resident Evil 2 Remake – How to Select the Original Soundtrack’. Push Square, 26 January 2019. www.pushsquare.com/news/2019/01/guide_resident_evil_2_remake_-_how_to_select_the_original_soundtrack.Google Scholar
Bentley, James. ‘25 Best Gaming Soundtracks of All Time’. GamesRadar, 24 September 2020. www.gamesradar.com/uk/best-gaming-soundtracks/3/.Google Scholar
Berlant, Lauren, and Warner, Michael. ‘What Does Queer Theory Teach Us About X?’ PMLA/Publications of the Modern Language Association of America 110, no. 3 (1995): 343–9.Google Scholar
Boluk, Stephanie, and Lemieux, Patrick. Metagaming: Playing, Competing, Spectating, Cheating, Trading, Making, and Breaking Videogames. Minneapolis: University of Minnesota Press, 2017.Google Scholar
Bonenfant, Yvon. ‘Queer Listening to Queer Vocal Timbres’. Performance Research 15, no. 3 (2010): 74–80.Google Scholar
Boudreau, Kelly. ‘Between Play and Design: The Emergence of Hybrid-Identity in Single-Player Videogames’. PhD dissertation, University of Montreal, 2012.Google Scholar
Braguinski, Nikita. ‘The Resolution of Sound: Understanding Retro Game Audio Beyond the “8-bit” Horizon’. NECSUS: European Journal of Media Studies 7, no. 1 (2018): 105–21.Google Scholar
Brice, Mattie. ‘Play and Be Real About It: What Games Could Learn from Kink’. In Queer Game Studies, edited by Ruberg, Bonnie and Shaw, Adrienne, 77–82. Minneapolis: University of Minnesota Press, 2017.Google Scholar
Bullock, Philip Ross. ‘Ambiguous Speech and Eloquent Silence: The Queerness of Tchaikovsky’s Songs’. 19th-Century Music 32, no. 1 (2008): 94–128.Google Scholar
Caplin, William. ‘The Classical Cadence: Conceptions and Misconceptions’. Journal of the American Musicological Society 57, no. 1 (2004): 51–117.Google Scholar
Carr, Diane. ‘Playing With Lara’. In ScreenPlay: Cinema/Videogames/Interfaces, edited by King, Geoff and Krzywinska, Tanya, 171–80. London: Wallflower, 2002.Google Scholar
Carr, Diane, Buckingham, David, Burn, Andrew and Schott, Gareth. Computer Games: Text, Narrative and Play. Cambridge: Polity Press, 2006.Google Scholar
Cheng, William. Sound Play: Video Games and the Musical Imagination. New York: Oxford University Press, 2014.Google Scholar
Cho, Alexander. ‘Queer Reverb: Tumblr, Affect, Time’. In Networked Affect, edited by Hillis, Ken, Paasonen, Susanna and Petit, Michael, 43–58. Cambridge, MA: MIT Press, 2015.Google Scholar
Cobbett, Richard. ‘Undertale Review’. PC Gamer, 29 September 2015. www.pcgamer.com/undertale-review/.Google Scholar
Collins, Karen. ‘Flat Twos and the Musical Aesthetic of the Atari VCS’. Popular Musicology Online 1 (2006). https://bit.ly/3MZgtTN.Google Scholar
Collins, Karen. Game Sound: An Introduction to the History, Theory and Practice of Video Game Music and Sound Design. Cambridge, MA: MIT Press, 2008.Google Scholar
Collins, Karen. Playing With Sound: A Theory of Interacting with Sound and Music in Video Games. Cambridge, MA: MIT Press, 2013.Google Scholar
Consalvo, Mia. Cheating: Gaining Advantage in Videogames. Cambridge, MA: MIT Press, 2007.Google Scholar
Cook, Karen M. ‘Beyond (the) Halo: Plainchant in Video Games’. In Studies in Medievalism XXVII: Authenticity, Medievalism, Music, edited by Fugelso, Karl, 183–200. Woodbridge: Boydell and Brewer, 2018.Google Scholar
Curran, Tim. ‘Filling in the Dead Space: Jason Graves Composes Music for the Scariest Game Ever Made’. Film Score Monthly 13, no. 10 (2008): n.p. www.filmscoremonthly.com/fsmonline/story.cfm?maID=1607&issueID=44&printer=1.Google Scholar
de Quidt, Jack. ‘Wot I Think: Undertale’. Rock Paper Shotgun, 22 September 2015. www.rockpapershotgun.com/2015/09/22/undertale-review/.Google Scholar
Deshane, Evelyn, and Travis Morton, R.. ‘The Big Reveal: Exploring (Trans)Femininity in Metroid’. In Queerness in Play, edited by Todd Harper, Meghan Blythe Adams and Nicholas Taylor, 131–46. Cham: Palgrave, 2018.Google Scholar
Dinshaw, Carolyn, Lee Edelman, Roderick A. Ferguson et al. ‘Theorizing Queer Temporalities: A Roundtable Discussion’. GLQ: A Journal of Lesbian and Gay Studies 13, no. 2 (2007): 177–95.Google Scholar
Donnelly, K. J. ‘Emotional Sound Effects and Metal Machine Music: Soundworlds in Silent Hill Games and Films’. In The Palgrave Handbook of Sound Design and Music in Screen Media, edited by Greene, Liz and Kulezic-Wilson, Danijela, 73–88. London: Palgrave, 2016.Google Scholar
Donnelly, K. J. ‘The Triple Lock of Synchronization’. In The Cambridge Companion to Video Game Music, edited by Fritsch, Melanie and Summers, Tim, 94–109. Cambridge: Cambridge University Press, 2021.Google Scholar
Du Bois, W. E. B. The Souls of Black Folk: Essays and Sketches. Greenwich, CT: Fawcett, 1961.Google Scholar
du Preez, Amanda. ‘Virtual Babes: Gender, Archetypes and Computer Games’. Communicatio 26 (2000): 18–27.Google Scholar
Eades, Quinn. ‘Transpoetics: Dialogically Writing the Queer and Trans Body in Fragments’. Axon 7, no. 2 (2017): n.p.Google Scholar
Evans, Richard. ‘Analyzing and Designing Dynamic Music Systems for Games’. PhD dissertation, University of York, 2019.Google Scholar
Fast, Susan. ‘Michael Jackson’s Queer Musical Belongings’. Popular Music and Society 35, no. 2 (2012): 281–300.Google Scholar
Fox, Toby. ‘Undertale: FAQ!’ Undertale. Last updated 29 January 2019. https://undertale.com/help/.Google Scholar
Franklin, Peter. Seeing Through Music: Gender and Modernism in Classic Hollywood Film Scores. New York: Oxford University Press, 2011.Google Scholar
Franklin, Seb. ‘On Game Art, Circuit Bending and Speedrunning as Counter-Practice: “Hard” and “Soft” Nonexistence’. Ctheory (June 2009): n.p.Google Scholar
Freeman, Elizabeth. ‘Introduction’. GLQ: A Journal of Lesbian and Gay Studies 13, no. 2 (2007): 159–76.Google Scholar
Freeman, Elizabeth. Time Binds: Queer Temporalities, Queer Histories. Durham, NC: Duke University Press, 2010.Google Scholar
Fritsch, Melanie. ‘Beat It! – Playing the “King of Pop” in Video Games’. In Music Video Games: Performance, Politics, and Play, edited by Austin, Michael, 153–76. New York: Bloomsbury, 2016.Google Scholar
Gazzard, Alison. ‘Grand Theft Algorithm: Purposeful Play, Appropriated Play and Aberrant Players’. In MindTrek ’08: Proceedings of the 12th International Conference on Entertainment and Media in the Ubiquitous Era, edited by Lugmayr, Artur, Mäyrä, Frans, Franssila, Heljä and Lietsala, Katri, 3–7. New York: ACM, 2008.Google Scholar
Gee, James Paul. What Video Games Have to Teach Us About Learning and Literacy. New York: Palgrave, 2003.Google Scholar
Gibbons, William. ‘Music, Genre, and Nationality in the Postmillennial Fantasy Role-Playing Game’. In The Routledge Companion to Screen Music and Sound, edited by Mera, Miguel, Sadoff, Ronald and Winters, Ben, 412–27. New York: Routledge, 2017.Google Scholar
Gibbons, William. Unlimited Replays: Video Games and Classical Music. New York: Oxford University Press, 2018.Google Scholar
Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. London: Verso, 1993.Google Scholar
Greer, Stephen. ‘Playing Queer: Affordances for Sexuality in Fable and Dragon Age’. Journal of Gaming & Virtual Worlds 5, no. 1 (2013): 3–21.Google Scholar
Grodal, Torben. ‘Stories for Eye, Ear, and Muscles: Video Games, Media, and Embodied Experiences’. In The Video Game Theory Reader, edited by Perron, Bernard and Mark, J. P. Wolf, 151–78. New York: Routledge, 2013.Google Scholar
Gunn, Milly. ‘The Soundscape of Alola: Exploring the Use of Hawaiian Musical Tropes and Motifs in the World of Pokémon Sun and Moon’. Journal of Sound and Music in Games 3, no. 2–3 (2022): 59–76.Google Scholar
Halberstam, Judith. In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press, 2005.Google Scholar
Halberstam, Judith. ‘Keeping Time with Lesbians on Ecstasy’. Women and Music: A Journal of Gender and Culture 11 (2007): 51–8.Google Scholar
Hall, Mat. ‘Undertale Endings Explained and How to Access Hard Mode’. Eurogamer, 15 March 2021. www.eurogamer.net/undertale-endings-hard-mode-4873.Google Scholar
Harper, Adam. ‘Lo-Fi Aesthetics in Popular Music Discourse’. DPhil dissertation, Oxford University, 2014.Google Scholar
Harper, Todd, Taylor, Nicholas and Adams, Meghan Blythe. ‘Queer Game Studies: Young but Not New’. In Queerness in Play, edited by Harper, Todd, Adams, Meghan Blythe and Taylor, Nicholas, 1–13. Cham: Palgrave, 2018.Google Scholar
Hatten, Robert S. A Theory of Virtual Agency for Western Art Music. Bloomington: Indiana University Press, 2018.Google Scholar
Hawkins, Stan. ‘Feel the Beat Come Down: House Music as Rhetoric’. In Analyzing Popular Music, edited by Moore, Allan F., 80–102. Cambridge: Cambridge University Press, 2003.Google Scholar
Hicks, Tyler. ‘Undertale Review’. Gamespot, 14 September 2018. www.gamespot.com/reviews/undertale-review-nintendo-switch-update/1900-6416315/.Google Scholar
High Voltage SID Collection. ‘About HVSC’. Last updated 20 December 2020. https://hvsc.c64.org/.Google Scholar
Ivanchikova, Alla. ‘Sidewalks of Desire: Paradoxes of the Postmodern Flaneur in Contemporary Queer Fiction’. PhD dissertation, State University of New York at Buffalo, 2007.Google Scholar
Ivănescu, Andra. ‘Beneath a Steel Sky: A Musical Characterisation of Class Structure’. Computer Games Journal 7 (2018): 231–42.Google Scholar
Jackson, Stevi. ‘Gender, Sexuality and Heterosexuality’. Feminist Theory 7, no. 1 (2006): 105–21.Google Scholar
Jackson, Timothy L. ‘Aspects of Sexuality and Structure in the Later Symphonies of Tchaikovsky’. Music Analysis 14, no. 1 (1995): 3–25.Google Scholar
Jarman-Ivens, Freya. ‘Notes on Musical Camp’. In The Ashgate Research Companion to Popular Musicology, edited by Scott, Derek B., 189–203. Farnham: Ashgate, 2009.Google Scholar
Jarman-Ivens, Freya. Queer Voices: Technologies, Vocalities, and the Musical Flaw. New York: Palgrave, 2011.Google Scholar
Jenkins, Henry. ‘“Out of the Closet and Into the Universe”: Queers and Star Trek’. In Science Fiction Audiences: Watching Doctor Who and Star Trek, edited by Tulloch, John and Jenkins, Henry, 237–65. London: Routledge, 1995.Google Scholar
Juul, Jesper. Half-Real: Video Games Between Real Rules and Fictional Worlds. Cambridge, MA: MIT Press, 2005.Google Scholar
Kassabian, Anahid. Hearing Film: Tracking Identifications in Contemporary Hollywood Film. New York: Routledge, 2001.Google Scholar
Kassabian, Anahid. ‘The Sound of a New Film Form’. In Popular Music and Film, edited by Inglis, Ian, 91–101. London: Wallflower, 2003.Google Scholar
Kennedy, Helen. ‘Lara Croft: Feminist Icon or Cyberbimbo?’ Game Studies 2 (2002): n.p.Google Scholar
Kercher, Kent. ‘Low Poly Loops Volume One: Rowdy Romplers’. Bandcamp, 1 January 2020. https://kentkercher.bandcamp.com/album/low-poly-loops-volume-one-rowdy-romplers.Google Scholar
Kerr, Aphra. ‘The Business of Making Games’. In Understanding Digital Games, edited by Rutter, Jason and Bryce, Jo, 36–57. London: Sage, 2006.Google Scholar
Landy, Lori. ‘Interactivity’. In The Routledge Companion to Video Game Studies, edited by Wolf, Mark J. P. and Perron, Bernard, 173–84. New York: Routledge, 2014.Google Scholar
Lauteria, Evan W. ‘Envisioning Queer Game Studies: Ludology and the Study of Queer Game Content’. In Queerness in Play, edited by Harper, Todd, Adams, Meghan Blythe and Taylor, Nicholas, 35–53. Cham: Palgrave, 2018.Google Scholar
Lawrence, Chris. ‘What If Zelda Wasn’t a Girl? Problematizing Ocarina of Time’s Great Gender Debate’. In Queerness in Play, edited by Harper, Todd, Adams, Meghan Blythe and Taylor, Nicholas, 97–114. Cham: Palgrave, 2018.Google Scholar
Lepa, Steffen, and Tritakis, Vlasis. ‘Not Every Vinyl Retromaniac Is a Nostalgic’. Medien & Zeit 4 (2016): 16–30.Google Scholar
Lind, Stephanie. Authenticity in the Music of Video Games. Lanham, MD: Lexington, 2023.Google Scholar
MacCallum-Stewart, Esther. ‘“Take That, Bitches!” Refiguring Lara Croft in Feminist Game Narratives’. Game Studies 14 (2014): n.p.Google Scholar
Margulis, Elizabeth Hellmuth. On Repeat: How Music Plays the Mind. New York: Oxford University Press, 2014.Google Scholar
McAlpine, Kenneth B. Bits and Pieces: A History of Chiptunes. New York: Oxford University Press, 2019.Google Scholar
McClary, Susan. ‘Constructions of Subjectivity in Schubert’s Music’. In Queering the Pitch: The New Gay and Lesbian Musicology, edited by Brett, Philip, Wood, Elizabeth and Thomas, Gary C., 205–34. New York: Routledge, 1994.Google Scholar
McClary, Susan. Feminine Endings: Music, Gender and Sexuality. Minneapolis: University of Minnesota Press, 1991.Google Scholar
McEla, Ellie. EarthBound Beginnings: An Accurate Transcription of the Original Soundtrack 2nd Edition. Self-published, https://kobbelobbe.tumblr.com/mother, c. 2016.Google Scholar
Medina-Gray, Elizabeth. ‘Modularity in Video Game Music’. In Ludomusicology: Approaches to Video Game Music, edited by Kamp, Michiel, Summers, Tim and Sweeney, Mark, 53–72. Sheffield: Equinox, 2016.Google Scholar
Medina-Gray, Elizabeth. ‘Modular Structure and Function in Early 21st-Century Video Game Music’. PhD dissertation, Yale University, 2014.Google Scholar
Meléndez, Elisa. ‘For Those About to Rock: Gender Codes in the Rock Music Video Games Rock Band and Rocksmith’. PhD dissertation, Florida International University, 2018.Google Scholar
Mera, Miguel. ‘Invention/Re-invention’. Music, Sound and the Moving Image 3, no. 1 (2009): 1–20.Google Scholar
Mikula, Maja. ‘Gender and Videogames: The Political Valency of Lara Croft’. Continuum 17 (2003): 79–87.Google Scholar
Miller, Kiri. ‘Gaming the System: Gender Performance in Dance Central’. New Media and Society 17, no. 5 (2015): 939–57.Google Scholar
Miller, Kiri. ‘Jacking the Dial: Radio, Race, and Place in “Grand Theft Auto”’. Ethnomusicology 51, no. 3 (2007): 402–38.Google Scholar
Miller, Kiri. Playable Bodies: Dance Games and Intimate Media. New York: Oxford University Press, 2017.Google Scholar
Mundhenke, Florian. ‘Resourceful Frames and Sensory Functions – Musical Transformations from Game to Film in Silent Hill’. In Music and Game: Perspectives on a Popular Alliance, edited by Moormann, Thomas, 107–24. Wiesbaden: Springer, 2013.Google Scholar
Muñoz, José Esteban. Cruising Utopia: The Then and There of Queer Futurity. New York: New York University Press, 2009.Google Scholar
Newman, James. ‘Before Red Book: Early Video Game Music and Technology’. In The Cambridge Companion to Video Game Music, edited by Fritsch, Melanie and Summers, Tim, 12–32. Cambridge: Cambridge University Press, 2021.Google Scholar
Newzoo. ‘2020 Global Players per Region with Year-on-Year Growth Rates’. October 2020. https://newzoo.com/key-numbers/.Google Scholar
Nieves, Andrés Almirall, José. ‘“It’s More Than a Game, It’s an Experience”: Eudaimonic Storytelling in the Music of Art Games’. MA dissertation, Florida State University, 2021.Google Scholar
Pelurson, Gaspard. Manifestations of Queerness in Video Games. Abingdon: Routledge, 2022.Google Scholar
Peraino, Judith Ann. Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. Berkeley: University of California Press, 2006.Google Scholar
Perez, Matthew. ‘Undertale: A Case Study in Ludomusicology’. MA dissertation, Queens College of the City University of New York, 2017.Google Scholar
Plank, Dana. ‘Bodies in Play: Representations of Disability in 8- and 16-bit Video Game Soundscapes’. PhD dissertation, Ohio State University, 2018.Google Scholar
Reale, Steven. ‘Analytical Traditions and Game Music: Super Mario Galaxy as a Case Study’. In The Cambridge Companion to Video Game Music, edited by Fritsch, Melanie and Summers, Tim, 193–219. Cambridge: Cambridge University Press, 2021.Google Scholar
Reale, Steven. ‘Transcribing Musical Worlds; or, Is L.A. Noire a Music Game?’ In Music in Video Games: Studying Play, edited by Donnelly, K. J., Gibbons, William and Lerner, Neil, 77–103. New York: Routledge, 2014.Google Scholar
Rehak, Bob. ‘Playing at Being: Psychoanalysis and the Avatar’. In The Video Game Theory Reader, edited by Wolf, Mark J. P. and Perron, Bernard, 103–27. New York: Routledge, 2003.Google Scholar
Reid, George. ‘Chiptune: The Ludomusical Shaping of Identity’. Computer Games Journal 7, no. 4 (2018): 279–90.Google Scholar
Ruberg, Bonnie. ‘Straight Paths Through Queer Walking Simulators: Wandering on Rails and Speedrunning in Gone Home’. Games and Culture 15, no. 6 (2020): 632–52.Google Scholar
Ruberg, Bonnie. Video Games Have Always Been Queer. New York: New York University Press, 2019.Google Scholar
Ruberg, Bonnie, and Shaw, Adrienne. ‘Introduction’. In Queer Game Studies, edited by Ruberg, Bonnie and Shaw, Adrienne, ix–xxxiii. Minneapolis: University of Minnesota Press, 2017.Google Scholar
Rycenga, Jennifer. ‘Endless Caresses: Queer Exuberance in Large-Scale Form in Rock’. In Queering the Popular Pitch, edited by Whiteley, Sheila and Rycenga, Jennifer, 235–47. New York: Routledge, 2006.Google Scholar
Salen, Katie, and Zimmerman, Eric. Rules of Play: Game Design Fundamentals. Cambridge, MA: MIT Press, 2004.Google Scholar
Schmalfeldt, Janet. ‘Cadential Processes: The Evaded Cadence and the “One More Time” Technique’. Journal of Musicological Research 12, no. 1–2 (1992): 1–52.Google Scholar
Seidman, Steven. ‘Queer-ing Sociology, Sociologizing Queer Theory’. Sociological Theory 12, no. 2 (1994): 166–77.Google Scholar
Shaw, Adrienne. Gaming at the Edge: Sexuality and Gender at the Margins of Gamer Culture. Minneapolis: University of Minnesota Press, 2014.Google Scholar
Shuker, Roy. Wax Trash and Vinyl Junkies: Record Collecting as a Social Practice. Aldershot: Ashgate, 2010.Google Scholar
Signor, Jeremy. ‘Undertale Will Make You Question the Essence of Video Games’. VentureBeat, 19 November 2015. https://venturebeat.com/2015/11/19/undertale-isnt-just-a-retro-throwback-itll-also-make-you-question-the-essence-of-video-games/.Google Scholar
Sihvonen, Tanja, and Stenros, Jaakko. ‘Cues for Queer Play: Carving a Possibility Space for LGBTQ Role-Play’. In Queerness in Play, edited by Harper, Todd, Adams, Meghan Blythe and Taylor, Nicholas, 167–84. Cham: Palgrave, 2018.Google Scholar
Solberg, Ragnhild Torvanger. ‘“Waiting for the Bass to Drop”: Correlations Between Intense Emotional Experiences and Production Techniques in Build-Up and Drop Sections of Electronic Dance Music’. Dancecult: Journal of Electronic Dance Music Culture 6, no. 1 (2014): 61–82.Google Scholar
Summers, Tim. ‘Fantasias on a Theme by Walt Disney: Playful Listening and Video Games’. In The Oxford Handbook of Cinematic Listening, edited by Cenciarelli, Carlo, 690–711. New York: Oxford University Press, 2021.Google Scholar
Summers, Tim. ‘Opera Scenes in Video Games: Hitmen, Divas and Wagner’s Werewolves’. Cambridge Opera Journal 29, no. 3 (2018): 253–86.Google Scholar
Summers, Tim. The Legend of Zelda: Ocarina of Time – A Game Score Companion. Bristol: Intellect, 2021.Google Scholar
Sweeney, Mark. ‘The Aesthetics of Videogame Music’. DPhil dissertation, Oxford University, 2014.Google Scholar
Sweet, Michael. Writing Interactive Music for Video Games. Upper Saddle River, NJ: Addison-Wesley, 2015.Google Scholar
Szabo, Victor. ‘Unsettling Brian Eno’s Music for Airports’. Twentieth-Century Music 14, no. 2 (2017): 305–33.Google Scholar
Tack, Daniel. ‘Undertale’. Game Informer, 1 October 2015. www.gameinformer.com/games/undertale/b/pc/archive/2015/10/01/an-enchanting-exhilarating-journey.aspx.Google Scholar
Tagg, Philip. ‘From Refrain to Rave: The Decline of Figure and the Rise of Ground’. Popular Music 13, no. 2 (1994): 209–22.Google Scholar
Takahashi, Dean. ‘Candy Crush Saga: 2.73 Billion Downloads in Five Years and Still Counting’. VentureBeat, 17 November 2017. https://venturebeat.com/2017/11/17/candy-crush-saga-2-73-billion-downloads-in-five-years-and-still-counting/.Google Scholar
Thompson, Ryan. ‘Operatic Conventions and Expectations in Final Fantasy VI’. In Music in the Role-Playing Game: Heroes and Harmonies, edited by Gibbons, William and Reale, Steven, 117–28. New York: Routledge, 2019.Google Scholar
Tonelli, Chris. ‘Game Music and Identity’. In The Cambridge Companion to Video Game Music, edited by Fritsch, Melanie and Summers, Tim, 327–42. Cambridge: Cambridge University Press, 2021.Google Scholar
Tronstad, Ragnhild. ‘Character Identification in World of Warcraft: The Relationship Between Capacity and Appearance’. In Digital Culture, Play, and Identity: A World of Warcraft Reader, edited by Corneliussen, Hilde G. and Rettberg, Jill Walker, 249–63. Cambridge, MA: MIT Press, 2008.Google Scholar
Tufty. ‘Spectronica’. Bandcamp, 10 December 2018. https://tufty1.bandcamp.com/album/spectronica.Google Scholar
Tulloch, Rowan, Hoad, Catherine and Young, Helen. ‘Riot Grrrl Gaming: Gender, Sexuality, Race, and the Politics of Choice in Gone Home’. Continuum 3 (2019): 337–50.Google Scholar
van Elferen, Isabella. ‘Un Forastero! Issues of Virtuality and Diegesis in Videogame Music’. Music and the Moving Image 4, no. 2 (2011): 30–9.Google Scholar
VGMusicologist. ‘Undertale Soundtrack Analysis’. OCRemix, 22 October 2015. https://ocremix.org/community/topic/41969-undertale-soundtrack-analysis-huge-spoilers/.Google Scholar
Waern, Annika. ‘“I’m in Love With Someone That Doesn’t Exist!” Bleed in the Context of a Computer Game’. Journal of Gaming & Virtual Worlds 3, no. 3 (2011): 239–57.Google Scholar
Walker, Elsie. Understanding Sound Tracks Through Film Theory. New York: Oxford University Press, 2015.Google Scholar
Weber, Cynthia. Queer International Relations. New York: Oxford University Press, 2016.Google Scholar
Whitmore, Guy. ‘A DirectMusic Case Study for No One Lives Forever’. In DirectX 9 Audio Exposed: Interactive Audio Development, edited by Fay, Todd M., Selfon, Scott and Fay, Todor J., 387–415. Plano, TX: Wordware, 2004.Google Scholar
Winters, Ben. Music, Performance and the Realities of Film. New York: Routledge, 2014.Google Scholar
Woloshyn, Alexa. ‘Electroacoustic Voices: Sounds Queer, and Why It Matters’. Tempo 71, no. 280 (2017): 68–79.Google Scholar
Wood, Simon. ‘Video Game Music – High Scores: Making Sense of Music and Video Games’. In Sound and Music in Film and Visual Media: An Overview, edited by Harper, Graeme, Doughty, Ruth and Eisentraut, Jochen, 129–48. New York: Continuum, 2009.Google Scholar
Yee, Thomas B. ‘Battle Hymn of the God-Slayers: Troping Rock and Sacred Music Topics in Xenoblade Chronicles’. Journal of Sound and Music in Games 1, no. 1 (2020): 2–19.Google Scholar
Zdanowicz, Gina, and Bambrick, Spencer. The Game Audio Strategy Guide: A Practical Course. New York: Routledge 2020.Google Scholar
- 2
- Cited by