{"title":"Finding meaning in data: Using data elements to sonify and visualize the found environment","authors":"Sze Tsang","doi":"10.1386/ts.9.1-2.73_1","DOIUrl":"https://doi.org/10.1386/ts.9.1-2.73_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123500598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Checkpoint!: The floodgates have opened. Report on the North American Conferences on Video Game Music","authors":"Steven B. Reale","doi":"10.1386/ST.8.1-2.99_1","DOIUrl":"https://doi.org/10.1386/ST.8.1-2.99_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116985255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From Mixtapes to Multiplayers: Sharing Musical Taste Through Video Games","authors":"M. Austin","doi":"10.1386/st.8.1-2.77_1","DOIUrl":"https://doi.org/10.1386/st.8.1-2.77_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134058824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines how the ‘Battlefield’ (EA Games) series of games generates authenticity in its soundtrack both through a meticulous approach to modelling the physical world and through the appropriation of audio characteristics from our, typically mediated, experience of conflict. It goes on to examine how we might reconcile such ‘authentic’ audio with the more ludic features of the soundtrack, required to support gameplay, that are typically presented as inauthentic. The absence of these sounds during narrative-based sequences and the acceptance of them without negative impact on immersion during gameplay implies that these inauthentic sounds appear not to disrupt the immersive qualities of the ‘authentic’ but only when clearly positioned as ego-ludic (heard only by the player, non-spatialized and synthetic in quality) and only within the context of challenge-based sequences of the game.
{"title":"The reality paradox: Authenticity, fidelity, and the real in Battlefield 4","authors":"Richard Stevens, D. Raybould","doi":"10.1386/ST.8.1-2.57_1","DOIUrl":"https://doi.org/10.1386/ST.8.1-2.57_1","url":null,"abstract":"This article examines how the ‘Battlefield’ (EA Games) series of games generates authenticity in its soundtrack both through a meticulous approach to modelling the physical world and through the appropriation of audio characteristics from our, typically mediated, experience of conflict. It goes on to examine how we might reconcile such ‘authentic’ audio with the more ludic features of the soundtrack, required to support gameplay, that are typically presented as inauthentic. The absence of these sounds during narrative-based sequences and the acceptance of them without negative impact on immersion during gameplay implies that these inauthentic sounds appear not to disrupt the immersive qualities of the ‘authentic’ but only when clearly positioned as ego-ludic (heard only by the player, non-spatialized and synthetic in quality) and only within the context of challenge-based sequences of the game.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114675388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘From Russia with Fun!’: Tetris, Korobeiniki and the ludic Soviet","authors":"Dana Plank-Blasko","doi":"10.1386/st.8.1-2.7_1","DOIUrl":"https://doi.org/10.1386/st.8.1-2.7_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131881149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film noir is a genre that is essentially conflicted: not only does it have both love and death at its essence, but it is also a story about impending failure enveloped in style, beauty and smoke. This contradictory core is also reflected in a number of ways in the paradoxes of one of the most prominent noir games of recent years, the appropriately titled L.A. Noire (Team Bondi and Rockstar Games, 2011): the seemingly open world contradicts the linear narrative and, while the gameworld is firmly rooted in a meticulously researched historical past, it is also heavily stylized and grounded in a cinematic legacy. This is also reflected in the music of the game: along with the original soundtrack composed by Andrew and Simon Hale (with additional songs written by The Real Tuesday Weld), borrowed music helps place the game both in a particular place and time and in a particular genre. In this article, I explore the multiple functions that music plays in L.A. Noire , acting as temporal signifier but also reflecting the themes and tropes of film noir. Finally, I argue that Baudrillard’s concept of the hyperreal can be used to better understand how appropriated music in video games relates to music history.
黑色电影本质上是一种矛盾的类型:它不仅本质上有爱和死亡，而且它也是一个关于即将到来的失败的故事，笼罩在时尚、美丽和烟雾之中。这种矛盾的核心也反映在近年来最著名的黑色游戏之一《黑色洛杉矶》(游戏邦迪团队和Rockstar games, 2011年)的悖论中:看似开放的世界与线性叙事相矛盾，虽然游戏世界根植于精心研究的历史，但它也非常程式化，并以电影遗产为基础。这也反映在游戏的音乐中:除了Andrew和Simon Hale创作的原声音乐(游戏邦注:还有the Real Tuesday Weld创作的歌曲)，借用的音乐将游戏置于特定的地点和时间以及特定的类型中。在这篇文章中，我探讨了音乐在《黑色洛杉矶》中扮演的多重功能，作为时间的能指，也反映了黑色电影的主题和修辞。最后，我认为鲍德里亚的超真实概念可以用来更好地理解电子游戏中的恰当音乐与音乐史之间的关系。
{"title":"Torched song: The hyperreal and the music of L.A. Noire","authors":"Andra Ivnescu","doi":"10.1386/ST.8.1-2.41_1","DOIUrl":"https://doi.org/10.1386/ST.8.1-2.41_1","url":null,"abstract":"Film noir is a genre that is essentially conflicted: not only does it have both love and death at its essence, but it is also a story about impending failure enveloped in style, beauty and smoke. This contradictory core is also reflected in a number of ways in the paradoxes of one of the most prominent noir games of recent years, the appropriately titled L.A. Noire (Team Bondi and Rockstar Games, 2011): the seemingly open world contradicts the linear narrative and, while the gameworld is firmly rooted in a meticulously researched historical past, it is also heavily stylized and grounded in a cinematic legacy. This is also reflected in the music of the game: along with the original soundtrack composed by Andrew and Simon Hale (with additional songs written by The Real Tuesday Weld), borrowed music helps place the game both in a particular place and time and in a particular genre. In this article, I explore the multiple functions that music plays in L.A. Noire , acting as temporal signifier but also reflecting the themes and tropes of film noir. Finally, I argue that Baudrillard’s concept of the hyperreal can be used to better understand how appropriated music in video games relates to music history.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126263730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Aesthetics and social interactions in MMOs: The gamification of music in Lord of the Rings Online and Star Wars: Galaxies","authors":"Mark Sweeney","doi":"10.1386/ST.8.1-2.25_1","DOIUrl":"https://doi.org/10.1386/ST.8.1-2.25_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131200295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
British experimental film-maker Guy Sherwin’s Optical Sound films from the 1970s explore the corporeal correspondence between sound and image through a transposition of the optical soundtrack into the visual images presented on-screen. These films are fundamentally a series of experiments investigating not only the relationship between sound and image, but also the essence and materiality of film itself. Sherwin asserts that his Optical Sound films have three discernible influences on them: the rigorous structuralism of the London Filmmaker’s Co-operative of the 1970s, the idea of aural/visual equivalence and Steve Reich’s contemporaneous musical experiments with sound phasing. Bearing this assertion in mind, this article intends to explore how Sherwin’s films, such as Phase Loop (Sherwin, 1971, 2007), subvert conventional notions of sound and synchronization in the film form from the vantage point of structural/materialist film theory. Further to this, it will also consider the influence of Reich’s use of phasing, looping and his stress on the importance of process in the structuring of material in order to assess the effects of perceptual shifts as extended to the audio-visual experience by Sherwin.
{"title":"Audio-visual moiré patterns: Phasing in Guy Sherwin’s Optical Sound films","authors":"Aimee Mollaghan","doi":"10.1386/ST.7.1.47_1","DOIUrl":"https://doi.org/10.1386/ST.7.1.47_1","url":null,"abstract":"British experimental film-maker Guy Sherwin’s Optical Sound films from the 1970s explore the corporeal correspondence between sound and image through a transposition of the optical soundtrack into the visual images presented on-screen. These films are fundamentally a series of experiments investigating not only the relationship between sound and image, but also the essence and materiality of film itself. Sherwin asserts that his Optical Sound films have three discernible influences on them: the rigorous structuralism of the London Filmmaker’s Co-operative of the 1970s, the idea of aural/visual equivalence and Steve Reich’s contemporaneous musical experiments with sound phasing. Bearing this assertion in mind, this article intends to explore how Sherwin’s films, such as Phase Loop (Sherwin, 1971, 2007), subvert conventional notions of sound and synchronization in the film form from the vantage point of structural/materialist film theory. Further to this, it will also consider the influence of Reich’s use of phasing, looping and his stress on the importance of process in the structuring of material in order to assess the effects of perceptual shifts as extended to the audio-visual experience by Sherwin.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131570585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Once (2007) is described by its director Carney as ‘a modern day musical’, eschewing the elaborately staged set-pieces associated with the film musical genre in favour of a more intimate style in which the songs arise ‘naturalistically’. Depicting the friendship between two musicians towards the end of ‘Celtic Tiger’-era Dublin, the film won critical acclaim and commercial success worldwide, confounding expectations of such a low-budget feature, shot cheaply on digital video. The commercial success of Once exemplifies the ‘rags-to-riches’ heroics of shoestring feature production in the millennial digital era. Yet the narrative of Once is paradoxically uneasy with digital technology and instead articulates what Philip Auslander (and others) term ‘rock authenticity’, fetishizing the ‘live’, the ‘lo-fi’ and the ‘acoustic’ in music. The overall approach to the sound of the film aspires towards ‘liveness’, as the use of location sound recording for the song sequences provides a particular textural quality that incorporates background noise and environmental reverberation, or ‘materializing sound indices’. This article uses analysis of the construction of sound space and sound-image relations in Once to demonstrate how this formal approach works with the narrative to communicate texturally a particular notion of ‘authenticity’ and ‘liveness’ of the film. This will be supplemented with analysis of discourses of authenticity used in the film’s publicity.
{"title":"The Celtic Tiger ‘Unplugged’: DV realism, liveness, and sonic authenticity in Once (2007)","authors":"Nessa Johnston","doi":"10.1386/ST.7.1.25_1","DOIUrl":"https://doi.org/10.1386/ST.7.1.25_1","url":null,"abstract":"Once (2007) is described by its director Carney as ‘a modern day musical’, eschewing the elaborately staged set-pieces associated with the film musical genre in favour of a more intimate style in which the songs arise ‘naturalistically’. Depicting the friendship between two musicians towards the end of ‘Celtic Tiger’-era Dublin, the film won critical acclaim and commercial success worldwide, confounding expectations of such a low-budget feature, shot cheaply on digital video. The commercial success of Once exemplifies the ‘rags-to-riches’ heroics of shoestring feature production in the millennial digital era. Yet the narrative of Once is paradoxically uneasy with digital technology and instead articulates what Philip Auslander (and others) term ‘rock authenticity’, fetishizing the ‘live’, the ‘lo-fi’ and the ‘acoustic’ in music. The overall approach to the sound of the film aspires towards ‘liveness’, as the use of location sound recording for the song sequences provides a particular textural quality that incorporates background noise and environmental reverberation, or ‘materializing sound indices’. This article uses analysis of the construction of sound space and sound-image relations in Once to demonstrate how this formal approach works with the narrative to communicate texturally a particular notion of ‘authenticity’ and ‘liveness’ of the film. This will be supplemented with analysis of discourses of authenticity used in the film’s publicity.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123308071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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