| Record ID | marc_columbia/Columbia-extract-20221130-014.mrc:99628243:2559 |
| Source | marc_columbia |
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LEADER: 02559cam a22003254a 4500
001 6882012
005 20221122055414.0
008 080225t20082008mauag b 001 0 eng
010 $a 2008008742
020 $a9780262033787 (hardcover : alk. paper)
020 $a026203378X (hardcover : alk. paper)
024 $a40015798216
035 $a(OCoLC)ocn212410152
035 $a(OCoLC)212410152
035 $a(NNC)6882012
035 $a6882012
040 $aDLC$cDLC$dBTCTA$dBAKER$dYDXCP$dUKM$dOCLCG$dC#P$dOrLoB-B
050 00 $aML3540.7$b.C65 2008
082 00 $a781.5/4$222
100 1 $aCollins, Karen,$d1973-$0http://id.loc.gov/authorities/names/n2007057357
245 10 $aGame sound :$ban introduction to the history, theory, and practice of video game music and sound design /$cKaren Collins.
260 $aCambridge, Mass. :$bMIT Press,$c[2008], ©2008.
300 $ax, 200 pages :$billustrations, music ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. [189]-196) and index.
505 00 $gCh. 1.$tIntroduction -- $gCh. 2.$tPush Start Button: The Rise of Video Games -- $gCh. 3.$tInsert Quarter to Continue: 16-BIT and the Death of the Arcade -- $gCh. 4.$tPress Reset: Video Game Music Comes of Age -- $gCh. 5.$tGame Audio Today: Technology, Process, and Aesthetic -- $gCh. 6.$tSynergy in Game Audio: Film, Popular Music, and Intellectual Property -- $gCh. 7.$tGameplay, Genre, and the Functions of Game Audio -- $gCh. 8.$tCompositional Approaches to Dynamic Game Music -- $gCh. 9.$tConclusion.
520 1 $a"Game Sound has two underlying themes: how and why games are different from or similar to film or other linear audiovisual media; and technology and the constraints it has placed on the production of game audio. Collins focuses first on the historical development of game audio, from penny arcades through the rise of home games and the recent rapid developments in the industry. She then examines the production process for a contemporary game at a large game company, discussing the roles of composers, sound designers, voice talent, and audio programmers; considers the growing presence of licensed intellectual property (particularly popular music and films) in games; and explores the function of audio in games in theoretical terms. Finally, she discusses the difficulties posed by nonlinearity and interactivity for the composer of game music."--BOOK JACKET.
650 0 $aVideo game music$xHistory and criticism.
852 00 $bmus$hML3540.7$i.C65 2008