[ANPPOM-Lista] CFP: GAME: the Italian Jornal of Game Studies

[Carlos Palombini]

n. 6/2016 –Hear The Music, Play The Game. Music And Game Design: Interplays
And Perspectives

Edited by Hillegonda C. Rietveld and Marco Benoît Carbone

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.

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.



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:

   - 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.


   - Non-linear approaches to music in game making: interactive
   sonicscapes, audio environments, immersive experiences.


   - The impact of technologies in music creation: audio chips, storage
   devices, gaming systems and their relation with music design and musicians.


   - Music game genres, streams, prototypes and innovative programming
   and/or performance, seen in professional, audience, and cultural context.


   - 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.


   - Game musicians as game personalities and their impact on defining
   leading franchises, brands, and gaming universes.



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 rietvehc em lsbu.ac.uk <mail em hillegonda.plus.com> and
marcobenoitcarbone em gmail.com. 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 *GAME – Games
as Art, Media, Entertainment*.



Contacts:

Marco Benoît Carbone (London College of Communication)
marcobenoitcarbone em gmail.com

Prof Hillegonda C. Rietveld (London South Bank University)
rietvehc em lsbu.ac.uk
<http://www.gamejournal.it/n-62016-hear-the-music-play-the-game-music-and-game-design-interplays-and-perspectives/%22mailto:>

-- 
carlos palombini
ph.d. dunelm
professor de musicologia ufmg
professor colaborador ppgm-unirio
ufmg.academia.edu/CarlosPalombini <http://goo.gl/KMV98I>
www.researchgate.net/profile/Carlos_Palombini2
scholar.google.com.br/citations?user=YLmXN7AAAAAJ
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