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| Preface |
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1 An introduction to game scoring |
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1 | (19) |
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Disasterpeace and FEZ: a case study of game scoring |
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4 | (2) |
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Music system overview: sequence context menu |
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6 | (1) |
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Music system overview: scripts browser |
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7 | (2) |
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Music system overview: main composition sequencer |
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9 | (2) |
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Game scoring as a unique mode of musical composition |
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11 | (1) |
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11 | (9) |
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2 Game scoring's interactive multimedia context |
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20 | (29) |
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Spatial emulation, the gaming "diegesis," and game scoring |
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20 | (2) |
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Interactivity: a new element |
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22 | (1) |
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Audial responsibility in the interactive multimedia text: a case study of the score for The Legend of Zelda (1987) |
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23 | (3) |
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Case study conclusions: John Cage and game scoring as aleatoric composition |
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26 | (1) |
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Game scoring taxonomy: Title Music |
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27 | (7) |
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Game scoring taxonomy: Source Music |
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34 | (4) |
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Source Music case study: Kondo's "Lost Woods" vs. Vreeland's "Reflection" |
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38 | (2) |
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Game scoring taxonomy: Results Music |
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40 | (5) |
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45 | (4) |
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3 Game scoring and gaming technology |
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49 | (26) |
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Case study -- the Nintendo Entertainment System's sound hardware configuration |
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50 | (1) |
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Channel overview: pulse wave channels |
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51 | (2) |
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Channel overview: triangle wave channel |
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53 | (1) |
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Channel overview: noise channel |
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54 | (1) |
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Channel overview: delta modulation channel |
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55 | (1) |
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NES game scoring techniques |
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56 | (1) |
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NES game scoring techniques: 2-channel echo |
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56 | (1) |
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NES game scoring techniques: single-channel echo |
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57 | (1) |
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NES game scoring techniques: arpeggio and psychoacoustic block chords |
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58 | (1) |
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NES game scoring techniques: TWC kick drum sounds |
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59 | (1) |
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NES game scoring techniques: melodic samples |
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59 | (3) |
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Putting it all together: the APU mixer |
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62 | (1) |
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62 | (1) |
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Game scoring taxonomy: Logo Jingles |
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63 | (2) |
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Game scoring taxonomy: Loading Music |
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65 | (2) |
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Game scoring taxonomy: voice acting and vocals |
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67 | (1) |
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68 | (7) |
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4 Game design and game scoring as software programming |
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75 | (32) |
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Game scoring taxonomy: Introduction Music |
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75 | (2) |
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Game scoring taxonomy: Demo Music |
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77 | (1) |
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Game scoring taxonomy: Gameplay Music |
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78 | (2) |
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Gameplay Music: Hub Music |
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80 | (4) |
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Gameplay Music: Area Music |
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84 | (1) |
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Area Music case study: game scoring as mimetic music technology in Tetris (1984) and Guitar Hero (2005) |
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84 | (3) |
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Gameplay Music: Area Music (cont.) |
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87 | (4) |
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Gameplay Music: Time System Jingles |
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91 | (1) |
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Gameplay Music: Battle Music |
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92 | (5) |
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Gameplay Music: Rest Music |
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97 | (1) |
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Gameplay Music: Dialogue Music |
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98 | (2) |
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Dialogue Music case study: the Owl and Link's Awakening |
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100 | (2) |
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Gameplay Music: Challenge Music |
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102 | (1) |
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103 | (4) |
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5 Game scoring: gameplay as performance of aleatoric composition |
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107 | (31) |
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Before video games: the aleatoric tradition |
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107 | (3) |
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110 | (2) |
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Case study: Super Mario Bros. ("World 6-2") |
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112 | (6) |
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Game scores vs. game soundtracks: Super Mario Bros, on CD |
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118 | (2) |
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120 | (1) |
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Game scoring taxonomy: Menu Sound Effects |
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120 | (1) |
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Mario menus: a case study of Menu Sound Effects in two Super Mario games |
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120 | (4) |
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Menu Sound Effects, cont. |
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124 | (1) |
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Game scoring taxonomy: Menu Music |
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125 | (3) |
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Game scoring taxonomy: Status Music (Gameplay Music, cont.) |
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128 | (2) |
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Game scoring taxonomy: Gameplay Sound Effects |
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130 | (4) |
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Game scoring taxonomy: "Ambiences" or Ambient Sound Effects |
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134 | (2) |
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136 | (2) |
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6 Game scoring: conclusion |
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138 | (7) |
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140 | (1) |
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141 | (1) |
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141 | (1) |
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142 | (3) |
| Index |
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145 | |
Lisainfo e-raamatute kohta