<div dir="ltr"><div class="gmail_default" style="font-family:arial,helvetica,sans-serif"><h2 class="instapaper_title post-title">n. 6/2016 –Hear The Music, Play The Game. Music And Game Design: Interplays And Perspectives</h2>
<p>Edited by Hillegonda C. Rietveld and Marco Benoît Carbone</p>
<p>Music composition and sound design in video games are important
dimensions in the experience of play, gaining increased acknowledgement
and attention within the game industry. The growing relevance and
success of several kinds of music-based games, and their codification in
novel genres and sub-genres, illustrates one tendency in this shift of
focus towards the aural in relation to the usually visual dominance of
the medium. This calls for an attempt to reconsider the often-overlooked
impact of music and its role in defining games. Arguably, a distinction
can be made between games in which music functions in the background,
and games in which music is an integral part of the game mechanics. For
example, attention to game music demands a reconsideration of the
importance of sonic content in past productions, and to look at
practices like the revival of chip music, associated with early arcade,
console, and home computer games. Meanwhile, the music industry has
recognized the importance of game music, as demonstrated by the growing
amount of releases of game sound tracks as well as occasional in-game
music sales in and across new and different markets. Composers and sound
designers have too often been regarded as contributors to the final
phases of game development, despite the central affective power of music
production in game design and the experience of play.</p>
<p>So far, academic research has focused mostly on general aspects of
sound design. There seems to exist a vastly unexplored area of analysis
for thinking about how technological change, market differentiations,
and evolving social contexts of media consumption have affected
game-music interactions over the past decades. With this call for
papers, we encourage research on music as a multi-faceted creative and
professional practice, of importance to the development and
understanding of video games. Through a focus on music in relation to
the overall game architecture we wish to emphasize the aural as a
crucial dimension. Encouraging contributions from video game and music
scholars, including musicologists, semioticians and media researchers,
we are interested in papers exploring the intersections, interaction,
and growing reciprocal influences between these fields.</p>
<p> </p>
<p>We are particularly interested in analyses that focus on aspects and
issues at the intersection of game and music studies that include, but
not are limited to, the following themes:</p>
<ul><li>The general impact of music in game experience, on the acoustic
space of games and on how a game is played within its sonic
architecture.</li></ul>
<ul><li>Non-linear approaches to music in game making: interactive sonicscapes, audio environments, immersive experiences.</li></ul>
<ul><li>The impact of technologies in music creation: audio chips, storage
devices, gaming systems and their relation with music design and
musicians.</li></ul>
<ul><li>Music game genres, streams, prototypes and innovative programming
and/or performance, seen in professional, audience, and cultural
context.</li></ul>
<ul><li>Composers and music makers within game production teams or as game
makers, seen through their specific background and contexts as
composers, DJs, singers, voice actors, from different disciplinary
perspectives.</li></ul>
<ul><li>Game musicians as game personalities and their impact on defining leading franchises, brands, and gaming universes.</li></ul>
<p> </p>
<p>Authors are encouraged to submit an initial proposal of 500 words
(excluding bibliography) by the 15th of October 2015 as a word document
or PDF to <a href="mailto:mail@hillegonda.plus.com">rietvehc@lsbu.ac.uk</a>
and <a href="mailto:marcobenoitcarbone@gmail.com">marcobenoitcarbone@gmail.com</a>. The proposal should describe the
topic, outline the main aims and question or argument, and provide
relevant references. Notification of acceptance to the issue will be
communicated by the 5th of November 2015. Authors of successful
proposals will then be asked to submit a full article of no more than
7,000 words by the 25th of February 2016. Papers will undergo a
double-blind peer review process. Accepted contributions will be
published in a 2016 issue of <i>GAME – Games as Art, Media, Entertainment</i>.</p>
<p> </p>
<p>Contacts:</p>
<p>Marco Benoît Carbone (London College of Communication) <a href="mailto:marcobenoitcarbone@gmail.com">marcobenoitcarbone@gmail.com</a></p>
<p>Prof Hillegonda C. Rietveld (London South Bank University) <a href="http://www.gamejournal.it/n-62016-hear-the-music-play-the-game-music-and-game-design-interplays-and-perspectives/%22mailto:">rietvehc@lsbu.ac.uk</a></p></div><br>-- <br><div class="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div>carlos palombini<br>ph.d. dunelm<br>professor de musicologia ufmg<br>professor colaborador ppgm-unirio<br><a href="http://goo.gl/KMV98I" target="_blank">ufmg.academia.edu/CarlosPalombini</a><br></div><div><a href="http://www.researchgate.net/profile/Carlos_Palombini2" target="_blank">www.researchgate.net/profile/Carlos_Palombini2</a><br><a href="http://scholar.google.com.br/citations?user=YLmXN7AAAAAJ" target="_blank">scholar.google.com.br/citations?user=YLmXN7AAAAAJ</a><br></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div></div></div></div></div></div></div></div></div>
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