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Part VI - Beyond the Game

Introduction

Published online by Cambridge University Press:  15 April 2021

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

The significance of video game music does not end when we turn off the console, shut down the PC or leave the arcade. It has an extended life far beyond the boundaries of the game itself. Perhaps the most obvious way that video game music is encountered outside the game is through recordings and performances of game music.

Type
Chapter
Information
The Cambridge Companion to Video Game Music , pp. 389 - 423
Publisher: Cambridge University Press
Print publication year: 2021

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References

Further Reading

Collins, Karen. Playing With Sound: A Theory of Interacting with Sound and Music in Games. Cambridge, MA: The MIT Press, 2013.CrossRefGoogle Scholar
Diaz-Gasca, Sebastian. ‘Super Smash Covers! Performance and Audience Engagement in Australian Videogame Music Cover Bands.’ Perfect Beat 19, no. 1 (2018): 51–67.Google Scholar
Fritsch, Melanie. ‘‘It’s a-me, Mario!’ Playing with Video Game Music’, in Ludomusicology: Approaches to Video Game Music, ed. Kamp, Michiel, Summers, Tim and Sweeney, Mark. Sheffield: Equinox, 2016, 92–115.Google Scholar
O’Leary, Jared and Tobias, Evan. ‘Sonic Participatory Cultures Within, Through, and Around Video Games’, in The Oxford Handbook of Music Making and Leisure, ed. Mantie, Roger and Smith, Gareth Dylan. New York: Oxford University Press, 2016, 543–66.Google Scholar
Plank, Dana. ‘Mario Paint Composer and Musical (Re)Play on YouTube’, in Music Video Games: Performance, Politics, and Play, ed. Austin, Michael. New York: Bloomsbury, 2016, 43–82.Google Scholar
Tessler, Holly. ‘The New MTV? Electronic Arts and ‘Playing Music’, in From Pac-Man to Pop Music: Interactive Audio in Games and New Media, ed. Collins, Karen. Aldershot: Ashgate, 2008, 13–26.Google Scholar

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