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Part IV - Realities, Perception and Psychology

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

Games present us with virtual spaces and universes, and ask us to interact with them. These worlds are virtual, because they cannot be sensed directly like our everyday reality, but instead, we perceive them through the channels of audio, video and, sometimes, touch, that the game apparatus provides. Audio and music are part of how we come to understand the game environments that are shown to us – sound helps to construct the worlds and shapes how we engage with them.

Type
Chapter
Information
The Cambridge Companion to Video Game Music , pp. 263 - 318
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 Video Games. Cambridge, MA: The MIT Press, 2013.Google Scholar
Grimshaw, Mark, Tan, Siu-Lan and Lipscomb, Scott D. ‘Playing With Sound: The Role of Music and Sound Effects in Gaming’, in The Psychology of Music in Multimedia, ed. Tan, Siu-Lan, Cohen, Annabel J., Lipscomb, Scott D. and Kendall., Roger A. Oxford: Oxford University Press, 2013, 289–314.Google Scholar
Ivănescu, Andra. Popular Music in the Nostalgia Video Game: The Way It Never Sounded. Cham: Palgrave, 2019.Google Scholar
Jørgensen, Kristine. ‘Left in the Dark: Playing Computer Games with the Sound Turned Off’, in From Pac-Man to Pop Music: Interactive Audio in Games and New Media, ed. Collins, Karen. Aldershot: Ashgate, 2008, 163–76.Google Scholar
van Elferen, Isabella. ‘Analysing Game Musical Immersion: The ALI Model’, in Ludomusicology: Approaches to Video Game Music, ed. Kamp, Michiel, Summers, Tim and Sweeney, Mark. Sheffield: Equinox, 2016, 32–52.Google Scholar

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