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Whalen, Z. (2004). Play along -- an approach to videogame music. Game Studies, 4(1). Retrieved February 20, 2005, from 
Added by: sirfragalot (5/10/05, 11:27 AM)   
Resource type: Web Article
BibTeX citation key: Whalen2004
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Categories: Film Music/Sound, Semiology
Keywords: Diegetic/non-diegetic, Film sound, Music, Visual Space
Creators: Whalen
Collection: Game Studies
Views: 4/642
Despite the title, this paper, to some extent, deals with diegetic audio where that audio is musical and part of the action (roughly equated to mickey-mousing). some attempt at employing semiotic technology.
Added by: sirfragalot  Last edited by: sirfragalot
   "...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." See also (Chion 1992, 1994; Curtis 1992) etc.

Chion, M. (1994). Audio-vision: Sound on screen C. Gorbman, Trans. New York: Columbia University Press.
Chion, M. (1992). Wasted words. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 104–110). New York: Routledge.
Curtis, S. (1992). The sound of the early Warner Bros. cartoons. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 191–203). New York: Routledge.   Added by: sirfragalot
Keywords:   Diegetic/non-diegetic
   "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."   Added by: sirfragalot
Keywords:   Diegetic/non-diegetic
   "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." See also (van Leeuwen 1999)

van Leeuwen, T. (1999). Speech, music, sound. London: MacMillan Press.   Added by: sirfragalot
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