By Winifred Phillips
Winner of the worldwide track Award Gold Medal for a very good e-book within the box of music · Winner of the nationwide Indie Excellence e-book Award · Winner of the Nonfiction e-book Award (Gold Winner) · Winner of the yearly online game tune Award (Best Publication)
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Extra info for A Composer’s Guide to Game Music
There are possible advantages to selecting an institution of higher learning that has both a strong music program and a strong video game design program. This choice can position an aspiring game composer to collaborate with aspiring game developers within that same institution. The opportunity to put abstract knowledge to concrete use is invaluable. It may be advantageous to be in close proximity to student developers who will possibly have use of our skills. In fact, the need for a composer舗s skills in a student environment can be crucial, particularly in the case of game development competitions that are open only to students of higher learning institutions.
These include additional specialized software applications specific to the field of game audio (we舗ll be discussing these in more detail in chapter 13). These software packages allow game composers to apply interactive behaviors to their music and preview how those behaviors will function within the framework of a game. Taken as a whole, all of these technical requirements can seem pretty scary. If we are to be successful game composers, we have to fight back the initial dread, sit down with the product manuals, and then dive headfirst into the hi-tech pool.
Tone color can be of enormous assistance when we are attempting to aurally dissect a track and determine its structure. Beyond this, however, is a practical application of tone color to the process of a game composer. Often, our music will be literally dissected, much in the way that we attempt to mentally scrutinize tracks by pulling apart their elements. A game composer will sometimes be asked to literally pull their compositions apart in order for them to be structured interactively. Without going too deeply into a subject that we舗ll be exploring later in this book, I舗d like to emphasize that an understanding of tone color can help us as game composers to structure our compositions so that they can be satisfactorily disassembled and then reassembled by the game舗s audio engine.