Four ways of hearing video game music:
'Four Ways of Hearing Video Game Music' offers a phenomenological approach to music in video games. Drawing on past phenomenological approaches to music as well as studies of music listening in a variety of disciplines such as aesthetics and ecological psychology, author Michiel Kamp expla...
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York, NY, United States of America
Oxford University Press
[2024]
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| Series: | Oxford music/media series
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis Klappentext |
| Summary: | 'Four Ways of Hearing Video Game Music' offers a phenomenological approach to music in video games. Drawing on past phenomenological approaches to music as well as studies of music listening in a variety of disciplines such as aesthetics and ecological psychology, author Michiel Kamp explains four main ways of hearing the same piece of music - through background, aesthetic, ludic, and semiotic hearing |
| Item Description: | Includes bibliographical references and index |
| Physical Description: | xi, 212 Seiten Illustrationen |
| ISBN: | 9780197651223 |
Staff View
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Contents Acknowledgments About the Companion Website Introduction: Towards a Phenomenology of Video Game Music Poietic and Aesthesic Approaches Game Design Strategies and Gameplay Tactics Ways of Hearing Phenomenology as an Approach to Video Game Music Whose Phenomenology? 1. Background Music Case Study. StarCrafi Background Music as Ground Background Music as Mood or Atmosphere Background Music as Affordance Background Music as Equipment Conclusions 2. Aesthetic Music Case Study: Minecraft Having an Aesthetic Experience Nostalgic Hearing Hearing Beauty in Virtual Nature Authored Musical Moments Aesthetic Listening as Interpretation Conclusions 3. Ludic Music Affect, or ‘Doing This Really Fast Is Fun’ Case Study: Proteus Inward Dancing and Embodied Listening Music Games, Synaesthesia, and Glee Musical Movement and Emotional Context Conclusions ix xi 1 3 6 9 17 25 29 32 37 42 51 57 65 66 68 71 75 82 94 100 107 110 113 117 124 129 137 141
viii CONTENTS 4. Semiotic Music Case Study: Left 4 Dead Musical Signs Musical Symbols Musical Signals and Anticipation Broken and Unestablished Signs Conclusions 143 144 149 152 158 164 170 Conclusion Hearing Video Game Music in Context Other Ways of Hearing A Final Word on Hermeneutics 173 174 176 180 Notes Bibliography Index 183 193 207
Four Ways of Hearing Video Game Music offers a novel account of the ways in which video games invite us to hear and listen to their music. By taking a phenomenological approach to characterize music in video games, author Michiel Kamp asks what it is we hear in the music when we play a game. Drawing on past phenomenological approaches to music as well as studies of music listening in a variety of disciplines such as aesthetics and ecological psychology, Kamp explains four main ways of hearing the same piece of music—through background, aesthetic, tudic, and semiotic hearing. As a background, music is not attended to at all, but can still be described in terms of moods, affordances, or equipment. Aesthetic hearing is a reflective attitude that invites hermeneutic interpretation; ludic hearing on the other hand invites “playing along” to the music, either through embodied movement, or in response to the music’s cinematic or theatrical connotations. Finally, in semiotic hearing, Kamp argues that we hear music as transparent symbols or signals that provide information about the state of a game. The book investigates these four categories through detailed case studies of video games from a variety of eras and genres accompanied by gameplay recordings and images on a companion website. |
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| spelling | Kamp, Michiel Verfasser (DE-588)1115272160 aut Four ways of hearing video game music Michiel Kamp New York, NY, United States of America Oxford University Press [2024] xi, 212 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Oxford music/media series Includes bibliographical references and index 'Four Ways of Hearing Video Game Music' offers a phenomenological approach to music in video games. Drawing on past phenomenological approaches to music as well as studies of music listening in a variety of disciplines such as aesthetics and ecological psychology, author Michiel Kamp explains four main ways of hearing the same piece of music - through background, aesthetic, ludic, and semiotic hearing Music / ukslc Music / thema Video game music / History and criticism Video game music / Philosophy and aesthetics Video game music / Analysis, appreciation Erscheint auch als Online-Ausgabe 978-0-19-765123-0 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034980084&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034980084&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Kamp, Michiel Four ways of hearing video game music Music / ukslc Music / thema Video game music / History and criticism Video game music / Philosophy and aesthetics Video game music / Analysis, appreciation |
| title | Four ways of hearing video game music |
| title_auth | Four ways of hearing video game music |
| title_exact_search | Four ways of hearing video game music |
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| title_short | Four ways of hearing video game music |
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