LEADER 04391nam 22007335 450 001 9910299281803321 005 20230415215213.0 010 $a3-319-72272-7 024 7 $a10.1007/978-3-319-72272-6 035 $a(CKB)3840000000347723 035 $a(MiAaPQ)EBC5287486 035 $a(DE-He213)978-3-319-72272-6 035 $a(PPN)224639455 035 $a(EXLCZ)993840000000347723 100 $a20180209d2018 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aEmotion in Video Game Soundtracking /$fedited by Duncan Williams, Newton Lee 205 $a1st ed. 2018. 210 1$aCham :$cSpringer International Publishing :$cImprint: Springer,$d2018. 215 $a1 online resource (167 pages) $cillustrations 225 1 $aInternational Series on Computer, Entertainment and Media Technology,$x2364-9488 311 $a3-319-72271-9 320 $aIncludes bibliographical references at the end of each chapters. 327 $a1 Welcome and Introduction from the Editors -- 2 Past: An overview of emotion as a parameter in music, definitions, and historical approaches -- 3 Present: Emotion in speech, singing, and sound effects -- 4 Present: Affectively-driven algorithmic composition -- 5 An auto-ethnographic approach to creating the emotional content of horror game soundtracking -- 6 Present: Brain Computer Music Interfacing (BCMI) -- 7 When the Soundtrack is the Game: from Audio-games to Gaming the Music -- 8 Motion Controllers, Sound, and Music in Video Games -- 9 Future: Repurposing music according to individual preferences for personalized soundtracks -- 10 Sounding the Story: Music in Videogame Cutscenes -- 11 The Impact of Multichannel Game Audio on the Quality and Enjoyment of Player Experience -- 12 Concluding remarks. 330 $aThis book presents an overview of the emerging field of emotion in videogame soundtracking. The emotional impact of music has been well-documented, particularly when used to enhance the impact of a multimodal experience, such as combining images with audio as found in the videogames industry. Soundtracking videogames presents a unique challenge compared to traditional composition (for example film music) in that the narrative of gameplay is non-linear ? Player dependent actions can change the narrative and thus the emotional characteristics required in the soundtrack.  Historical approaches to emotion measurement, and the musical feature mapping and music selection that might be used in video game soundtracking  are outlined,  before a series of cutting edge examples are given.  These examples include algorithmic composition techniques, automated emotion matching from biosensors, motion capture techniques, emotionally-targeted speech synthesis and signal processing, and automated repurposing of existing music (for example from a players own library). The book concludes with some possibilities for the future. 410 0$aInternational Series on Computer, Entertainment and Media Technology,$x2364-9488 606 $aUser interfaces (Computer systems) 606 $aHuman-computer interaction 606 $aInteractive multimedia 606 $aMultimedia systems 606 $aComputer games?Programming 606 $aMusic 606 $aMusic?Mathematics 606 $aUser Interfaces and Human Computer Interaction 606 $aMedia Design 606 $aGame Development 606 $aMusic 606 $aMathematics in Music 615 0$aUser interfaces (Computer systems). 615 0$aHuman-computer interaction. 615 0$aInteractive multimedia. 615 0$aMultimedia systems. 615 0$aComputer games?Programming. 615 0$aMusic. 615 0$aMusic?Mathematics. 615 14$aUser Interfaces and Human Computer Interaction. 615 24$aMedia Design. 615 24$aGame Development. 615 24$aMusic. 615 24$aMathematics in Music. 676 $a005.437 702 $aWilliams$b Duncan$4edt$4http://id.loc.gov/vocabulary/relators/edt 702 $aLee$b Newton$4edt$4http://id.loc.gov/vocabulary/relators/edt 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910299281803321 996 $aEmotion in Video Game Soundtracking$92274734 997 $aUNINA