Sound Research WIKINDX
Sound Research WIKINDX |
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| Bather, N. (2004). The darkness of Mordor: The sound of evil in The Lord of the Rings. Screen Education, 37, 167–170. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/04/2006, 10:47 | |
| "If the sound design functions in mesh with the visual image, then the two parts become a complete whole and one is almost indistinguishable from the other." | |
| "...the acculturation of an audience towards certain sounds such that to maintain realism some sounds are required whether or not those sounds are actually possible." Gives an example of the 'swishing' of a blade slicing through air. While such a sound is possible, in the film it is greatly enhanced/manipulated. | |
| Aurally, "...evil takes the familiar and manipulates it..." | |
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"Largely, the sound of good is representative of the place that the character or screen thinks of as home. ... Evil is invariably signified by discordant sounds. Usually but not always of a bass register and sometimes at a higher volume that punctuates the quiet of the normality that has been depicted." See also van Leeuwen (van Leeuwen 1999, pp.92–124) |
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| Makes a distinction between purely functional sound and sound present for dramatic effect. | |
| Whalen, Z. (2004). Play along -- an approach to videogame music. Game Studies, 4(1). Retrieved February 20, 2005, from http://www.gamestudies.org/0401/whalen/ |
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| Added by: Mark Grimshaw-Aagaard 06/12/2015, 18:50 | |
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"...studies of the relationship between audial and visual elements in older media (for example, film) prove useful for understanding game music because certain basic ideas (for example, diegetic versus non-diegetic musical sound) apply to videogames." (Chion 1992; 1994) See also Curtis 1992) etc. |
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| "By simultaneously enriching the worlds of videogames and assisting the player's navigating the space of videogames, music is essential to the semantic operations of a videogame." | |
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"The metaphoric behaviour of game music is that which relates to the game as a story or world. It is the function that draws the player into the experience, giving shape and semantic meaning to that experience. When the constant background music in the classic Super Mario Brothers switches from its sunny major theme to a tense minor theme, the visible environment of the player-character has switched from broad daylight to a subterranean cavern. This switch can be seen as paradigmatic in that the game's syntagmatic structures of play are still in place – Mario must still move from left to right and progress toward the final castle. The metonymic function of game music facilitates the player's accomplishing the goals of the game. To remain with the Mario Brothers example, whatever music is currently representing the environment increases in tempo as the end of the level approaches. This teaches the player to move faster toward the level's completion, and thus enforces the syntagmatic properties of the game by pushing it forward in a contiguous progression." (van Leeuwen 1999) See also |