Role of Music in Computer Games - Essay Example

? ROLE OF MUSIC IN COMPUTER GAMES Introduction Computer or video game music involves the use of soundtracks that accompany the game while it is being played. Early games used YMO melodies and beats. They used simple sounds and there was little distinction between 'noise' and 'music', or 'sound' and 'music'. At the time, little concentration was given to the possibility of incorporating music into games. Numerical developments in storage capacity increased over time. Long ago, the 1983-87 era employed '8-bit' systems, the 1987-1993 era used '16-bit' systems (Donkey Kong Country 2), '32-bit' systems occurred during 1993-2003 and the '64-bit' has been used since 2003-present. More space in the memory has been focused on with more detail being added (images, sounds and music). The first commercially produced games were by Computer Space (Nutting Associates 1971). The first game produced that had a 'musical dimension' was Space Invaders in 1978. It employed the rise and fall of bass notes that looped and sped up when the 'aliens' got nearer –a popular cinematic technique. Super Mario Brothers was the first video game produced in 1985 that went on to achieve worldwide success. The first dynamic use of 8-bit music was in a game’s plot titled Duck Tales in 1989. The first time songs were incorporated into video games was in 2005 in the computer game, ‘Still Alive’ in ‘Portal’. The development of the popularity of games was acknowledged which led to the creation of arcade games. At present, it is reported that video game composers employ advanced tools and instruments to make these exceptionally high quality sound tracks. These soundtracks rival the quality of production and musical sources that are distinctive with films. The central connection that exists between films and videogames is that they both rely heavily on the use of aural cues and visual cues as well to express a sense of constant diegesis or game world. The role played by music in these video games has advanced from once being a mere ringing sound to symphonic orchestral sounds and hip-hop playlists that can be customized. At present, music in computer games has evolved the whole experience one derives from these games when compared to the past. This fact has caused competitors within the game console industry to revolutionize their products. Music is used to express a particular mood when the visuals are accompanied with it. Onekey function among the extensive video game music functions sis that the sound aids in engaging the discernment of a spatial digress by the audience. Diegetic and Extra diegetic music is usually combined with the video game sounds to generate a particular captivating mood. Diegetic music is the kind of music assumed to be perceptible to the characters in the narrative on the screen. Musical cues and sound effects usually impart the objects with even an extra life than they possess when they simply make appearances as figures in motion. Use of music in computer games makes the illusion portrayed in computer games compelling. Use of music in film Musical cues and sound effects have always been part of film from inception of the film began. Early exhibitions of films were characteristically incorporated the use of a piano. Silent films were complemented by a range of musical instruments such as the solo piano to larger musical instruments depending on the kind of film. Music in films was intended to spark interest in audiences.Originally, films had no music andthis caused audiences to seek other sounds (such as ambient noises) that fulfilledfunctions usually achieved by musical cues.Use of musical cues in film applieshigher influence on the subject of the film than it would have if there was no accompaniment of music.Music divides the emotive content of the filmand considerably impactson the understanding of thetheatrical plot by the audience (Collins, 2008).Music within films influences memoryof the scenes in the film. Through the musical cues, one is able to remember what was happening to the characters portrayed in the film. Aspects of the scenes in the film are remembered after viewership as a result of incorporation of music. Many studies have indicated that music in television programs enables one to predict events that follow in subsequent episodes.The use of music was said to systematically influence the occurrence of events in the television programs (Vitouch, 2001). Differences between use of music in film and computer games Music used in film is unchanging. It cannot be influenced by the audience as is the case with music in computer games. With computer games, one is able to select their playlist and change it at will. This is not the situation in film and television. Film and television do not allow one to experience authorship of the music. The adaptability of video game music is a characteristic that is unique in nature. It is one that many gamers enjoy. It makes the gamer feel that the game manufacturers have handed them control of the game. Usually, for film and television, the use of music promotes a feeling and experience of bodily transcendence (Collins, 2008). This is not the case in computer games.For computer games, music may indicate the involvement of the body. Constant movements accompany the experience derived from the video game. For example when the button indicating Mario to jump is pushed, a sound is made. This is known as an interactive sound. When Mario gains points, another interactive sound is made. This is not the case for films. In films, music indicates a change of scene. When a character makes a movement in a film or on television programs, there is no interactive sound. Usually, many games have the feature ‘inserts’ in them. These depict a traditional sequence usually common in films. The player never has interactive access to the narratives (whether they are either basic pauses or refined pseudo-Broadway musical setups- Epic Mickey 2). Epic Mickey 2: The Power of Two was the first video game musical composed in 2012. The basic pauses in the tale exist so as to help the player take stock of progress.The use of inserts is becoming increasingly significant in games as they become more and more technical, technologically and musically sophisticated. Similar to film and programs on television, music in computer games can underscore action, develop themes and guide the emotional response in a game (Collins, 2013).Some sounds in the computer games indicate a sense of danger, victory or fear. These sounds are classified as adaptive audio. Adaptive audio consists of those sounds that respond to or signal a state of the game. In films, these sounds are present. The music accompanying the action of a character climbing a horse can be classified as adaptive audio.The music in computer games tells a different story each time it is played. Usually, the music indicates this through actions performed by the player. Conclusion Over time, the computer game audience has changed drastically. These changes include expectations of the audience. The gaming society’s needs are getting difficult to fulfill as each customer is getting more demanding. The challenge for game console manufacturers occurs when evaluation of different music has to be conducted. At times, the music evaluated may not be the kind of music the gamer is expected to listen to. The music must be in line with cultural preferences so as not to seem offensive to different people. Computer game customers are vast in number therefore it is difficult to consider each client’s specifications. However, the use of music in computer games has greatly affected the overall experience derived from the game. It has transformed the whole idea of computer games into a new kind. The clear development in the use of sounds over time is one that should be noted and praised. Bibliography Collins, K. 2008. Game sound [electronic resource]: an introduction to the history, theory, and practice of video game music and sound design. New York. MIT Press. Chapters 4 and 6. Collins, K. 2013. Playing with Sound: A Theory of Interacting with Sound and Music in Video Games Boston Mass.New York. MIT Press. Chapter 1. Jackson, B. 2004. Game Sound: Audio at Electronic Arts. New York. Press. Vitouch, O. 2001. When your ear sets the stage: Musical context effects in film perception. Psychology of Music. New York. Press. Read More