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- Forschungsinstitut Musiktheater (FIMT) (3)
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Thematic Unity Across a Video Game Series
(2011)
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Jason Brame
- Composer Koji Kondo’s music for both Super Mario Bros. (Nintendo, 1984) and The Legend of Zelda (Nintendo, 1986) is among the most recognized video game music ever written. Through the use of motivic and prolongational analysis, this article demonstrates how Kondo created a unity across the entire Zelda franchise, while making each game’s score unique by examining one musical element, the overworld theme, from each of the main entries in the Zelda series. Schenkerian analysis is used to identify structural and motivic relationships between the various themes. This article concludes with an examination of semiotic implications of this analysis and its impact on other aspects of the Zelda series and game music analysis as a whole.
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Editorial zu 2011/2: Musik spielen – Computerspiele und Musik
(2011)
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Melanie Fritsch
- Einleitendes Editorial von Melanie Fritsch zur zweiten Ausgabe von ACT - Zeitschrift für Musik & Performance unter dem Thema "Musik spielen - Computerspiele und Musik"
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Playing the Tune: Video Game Music, Gamers, and Genre
(2011)
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Tim Summers
- This article proposes a particular approach to video game music by advocating a genre-based enquiry. Two generic levels are active in video game music: “interactive genre” (the type of game/interactive mechanism) and “environmental genre” (the “setting” of the game). The interaction between these levels produces the game’s music. By examining games within the same interactive genre, even if the environmental genre is markedly different, we can begin to uncover similar concerns, functions and methodologies of game music. Three interactive genres are briefly examined (survival horror games, strategy games, fighting games), in order to demonstrate how musicalstrategic similarities can be seen to weave through game genres.
