If are the trigger and the catalyst that can only be a really positive thing.’Ĭhildren aged six to 16 were asked about how they experience classical music around one in six said they listened to it, ‘when it’s part of a computer game I’m playing.’ ‘What we are finding is once we have lit that fire there is a real desire to carry that journey on and explore. It is about sparking their interest’, Williams said. ‘ It is encouraging to hear that there are platforms and opportunities for young people to engage with orchestral music, albeit in different mediums. The orchestra’s managing director James Williams told the Telegraph that computer games are an important ‘access point’ for young people to experience classical music for the first time: The British Academy Games Awards also has a dedicated award for Music (this year’s was won by Disco Elysium).Īlthough approached in a slightly different way from more traditional media, music in games is as important as ever and can no longer be considered an afterthought, but as an integral part of the player experience.īut can video games music actually teach you about classical orchestral music? A poll by the Royal Philharmonic Orchestra suggested the answer is yes. In 2012 Journey became the first ever video game to be nominated for a Grammy for its score, proving that game music is now celebrated for its quality and popularity outside of the games industry.
‘Mysteries’ – Richard Lacy, Sarah MacDonaldįind out more about the art of composing video games music by reading our interview with The Flight, aka production duo Joe Henson and Alexis Smith, whose music has appeared on Assassin’s Creed and the BAFTA-nominated Alien Isolation. If you’re looking for inspiration for video games music, check out these tracks: The composer talks to the developers about what emotions they want to evoke from the player and also, where possible, they play the latest version of the game. So the music needs to adapt to the player’s choices within the narrative. Within a game, however, the player is, to varying degrees, much more in control of how the story plays out. You watch different shots, edited and placed in a set order, accompanied by pre-defined musical cues. When you’re watching a film, the story is linear. A lot depends on how early a composer is brought in on the development process and also how integral the music will be to the player’s experience. When starting on a project, the composer can be shown anything from an almost fully functioning, playable version of the game, to a few mock-up artwork sketches and a short description of the story. When composing, this can often mean ignoring conventional song formats and deconstructing music to its component layers, which can then be interchanged, overlapped or entwined, depending on the needs of the narrative. So how, if at all, is composing music for video games different from any other form of media? Designing a soundtrack
Games are now a multi-billion dollar business and the music within them is a huge part of the player experience.
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