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3 - Waveform Wizard: An Interview with Composer Junko Ozawa

from Part I - Chiptunes

Published online by Cambridge University Press:  15 April 2021

Melanie Fritsch
Affiliation:
Heinrich-Heine-Universität Düsseldorf
Tim Summers
Affiliation:
Royal Holloway, University of London
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Summary

Junko Ozawa was born in 1960 in the Saitama prefecture. After attending the Musashino College of Music as a student in the Musicology Department and graduating with a major in Instrumental Piano, she joined the Namco Corporation in 1983 (now Bandai Namco Entertainment). The first game she worked on was Gaplus (1984, the name was later changed to Galaga 3 in the United States), and following this game, she was in charge of the music for The Tower of Druaga (1984, for which she also wrote the sound driver) and Rolling Thunder (1986), amongst several other games. She was also responsible for porting some of her game music from the Arcade to the Famicom versions (e.g. The Tower of Druaga), and further created the music for games that Namco developed for other companies, including Nintendo’s critically acclaimed rhythm game Donkey Konga (for the Nintendo GameCube, 2003). She is credited alongside Toshio Kai, Nobuyuki Ohnogi, Yuriko Keino and Yuu Miyake for the song ‘Katamari On Namco’ on the Katamari Damacy – Touch My Katamari Original Sound Track 2 soundtrack release of the PlayStation Vita title Touch My Katamari (2011). Since leaving Namco in 2008, she has continued to compose music, alongside giving piano performances and doing a variety of musical activities.

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Publisher: Cambridge University Press
Print publication year: 2021

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References

Further Reading

Fritsch, Melanie. ‘Heroines Unsung: The (Mostly) Untold Story of Female Japanese Game Music Composers’, in Women’s Music for the Screen: Diverse Narratives in Sound, ed. Wilcox, Felicity. New York: Routledge, in press.Google Scholar
Kohler, Chris. Power-Up: How Japanese Video Games Gave the World an Extra Life. Indianapolis: BradyGames, 2004.Google Scholar
Yamakami, Yôhei and Barbosa, Mathieu. ‘Formation et développement des cultures autour de la “Geemu Ongaku” (1980–1990).Kinephanos 5, no. 1 (2015): 142–60.Google Scholar
Dwyer, Nick (dir.). Diggin’ in the Carts. (2014). [Video documentary series] (accessed 23 May 2020). http://daily.redbullmusicacademy.com/2014/10/diggin-in-the-carts-series.Google Scholar
Koshiro, Yuzo. What Led Me to Game Music? Talk About the Music of The Tower Of Druaga, Gradius, Space Harrier. (2019). [Video] (accessed 23 May 2020) www.youtube.com/watch?v=tLqbixY5H0s.Google Scholar
Dwyer, Nick (dir.). Diggin’ in the Carts. (2014). [Video documentary series] (accessed 23 May 2020). http://daily.redbullmusicacademy.com/2014/10/diggin-in-the-carts-series.Google Scholar
Koshiro, Yuzo. What Led Me to Game Music? Talk About the Music of The Tower Of Druaga, Gradius, Space Harrier. (2019). [Video] (accessed 23 May 2020) www.youtube.com/watch?v=tLqbixY5H0s.Google Scholar

Video

Dwyer, Nick (dir.). Diggin’ in the Carts. (2014). [Video documentary series] (accessed 23 May 2020). http://daily.redbullmusicacademy.com/2014/10/diggin-in-the-carts-series.Google Scholar
Koshiro, Yuzo. What Led Me to Game Music? Talk About the Music of The Tower Of Druaga, Gradius, Space Harrier. (2019). [Video] (accessed 23 May 2020) www.youtube.com/watch?v=tLqbixY5H0s.Google Scholar

Further Reading

Braguinski, Nikita. RANDOM: Die Archäologie der Elektronischen Spielzeugklänge. Bochum: Projekt Verlag, 2018.Google Scholar
Collins, Karen. ‘From Bits to Hits: Video Games Music Changes Its Tune.’ Film International 12 (2005): 419.Google Scholar
Collins, Karen. ‘Flat Twos and the Musical Aesthetic of the Atari VCS.Popular Musicology Online 1 (2006).Google Scholar
Collins, Karen. Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design. Cambridge, MA: The MIT Press, 2008.Google Scholar
Fritsch, Melanie. Performing Bytes: Musikperformances der Computerspielkultur. Würzburg: Königshausen & Neumann, 2018.Google Scholar
McAlpine, Kenneth B. Bits and Pieces. A History of Chiptunes. New York: Oxford University Press, 2018.Google Scholar
Newman, James. ‘The Music of Microswitches: Preserving Videogame Sound – A Proposal.The Computer Games Journal 7 (2018): 261–78.Google Scholar
Tanaka, Haruhisa ‘hally’. All About Chiptune. Tokyo: Seibundo-shinkosha, 2017.Google Scholar
Troise, Blake. ‘The 1-Bit Instrument. The Fundamentals of 1-Bit Synthesis, Their Implementational Implications, and Instrumental Possibilities.Journal of Sound and Music in Games 1, no. 1 (2020): 4474.Google Scholar

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