Book contents
- The Cambridge Companion to Music in Digital Culture
- Cambridge Companions to Music
- The Cambridge Companion to Music in Digital Culture
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- 1 Digital Technology and Cultural Practice
- Personal Take: Whatever Happened to Tape-Trading?
- 2 Toward a History of Digital Music: New Technologies, Business Practices and Intellectual Property Regimes
- Personal Take: On Serving as an Expert Witness in the ‘Blurred Lines’ Case
- 3 Shaping the Stream: Techniques and Troubles of Algorithmic Recommendation
- Personal Take: Being a Curator
- Personal Take: Can Machines Have Taste?
- 4 Technologies of the Musical Selfie
- Personal Take: Vaporwave is Dead, Long Live Vaporwave!
- 5 Witnessing Race in the New Digital Cinema
- Personal Take: Giving History a Voice
- 6 Digital Devotion: Musical Multimedia in Online Ritual and Religious Practice
- Personal Take: Technicians of Ecstasy
- Personal Take: Live Coded Mashup with the Humming Wires
- Personal Take: Algorave: Dancing to Algorithms
- 7 Rethinking Liveness in the Digital Age
- Personal Take: Augmenting Musical Performance
- Personal Take: Digital Demons, Real and Imagined
- Personal Take: Composing with Sounds as Images
- Personal Take: Compositional Approaches to Film, TV and Video Games
- 8 Virtual Worlds from Recording to Video Games
- 9 Digital Voices: Posthumanism and the Generation of Empathy
- Personal Take: In the Wake of the Virtual
- 10 Digital Inequalities and Global Sounds
- 11 The Political Economy of Streaming
- Bibliography
- Index
Personal Take: - Compositional Approaches to Film, TV and Video Games
Published online by Cambridge University Press: 30 August 2019
- The Cambridge Companion to Music in Digital Culture
- Cambridge Companions to Music
- The Cambridge Companion to Music in Digital Culture
- Copyright page
- Contents
- Figures
- Contributors
- Acknowledgements
- Introduction
- 1 Digital Technology and Cultural Practice
- Personal Take: Whatever Happened to Tape-Trading?
- 2 Toward a History of Digital Music: New Technologies, Business Practices and Intellectual Property Regimes
- Personal Take: On Serving as an Expert Witness in the ‘Blurred Lines’ Case
- 3 Shaping the Stream: Techniques and Troubles of Algorithmic Recommendation
- Personal Take: Being a Curator
- Personal Take: Can Machines Have Taste?
- 4 Technologies of the Musical Selfie
- Personal Take: Vaporwave is Dead, Long Live Vaporwave!
- 5 Witnessing Race in the New Digital Cinema
- Personal Take: Giving History a Voice
- 6 Digital Devotion: Musical Multimedia in Online Ritual and Religious Practice
- Personal Take: Technicians of Ecstasy
- Personal Take: Live Coded Mashup with the Humming Wires
- Personal Take: Algorave: Dancing to Algorithms
- 7 Rethinking Liveness in the Digital Age
- Personal Take: Augmenting Musical Performance
- Personal Take: Digital Demons, Real and Imagined
- Personal Take: Composing with Sounds as Images
- Personal Take: Compositional Approaches to Film, TV and Video Games
- 8 Virtual Worlds from Recording to Video Games
- 9 Digital Voices: Posthumanism and the Generation of Empathy
- Personal Take: In the Wake of the Virtual
- 10 Digital Inequalities and Global Sounds
- 11 The Political Economy of Streaming
- Bibliography
- Index
Summary
This essay explores some fundamental differences in approach to the composition of music for film, TV and video games. Several key technical considerations that influence forms, constructional devices and musical vocabulary available to the games composer are examined.
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- Chapter
- Information
- The Cambridge Companion to Music in Digital Culture , pp. 204 - 208Publisher: Cambridge University PressPrint publication year: 2019