Emotion and Meaning in Music

Game atmosphere and game audio are critical factors linked to the commercial success of video games. However, game atmosphere has been neither operationalized nor clearly defined in games user research literature, making it difficult to study. We define game atmosphere as the emerging subjective experience of a player caused by the strong audiovisual thematic cohesion (i.e., the harmonic fit of sounds and graphics to a shared theme) of video game elements. We studied players' experience of thematic cohesion in two between-subjects, independent-measures experiments (N=109) across four conditions differing in their level of audiovisual thematic fit. Participants' experiences were assessed with physiological and psychometric measurements to understand the effect of game atmosphere on player experience. Results indicate that a lack of thematic fit between audio and visuals lowers the degree of perceived atmosphere, but that while audiovisual thematic dissonance may lead to higher-intensity negative-valence facial events, it does not impact self-reported player experience or immersion.

https://dl.acm.org/doi/pdf/10.1145/3410404.3414245

Game Atmosphere: Effects of Audiovisual Thematic Cohesion on Player Experience and Psychophysiology

/pdf/game-scoring-towards-a-broader-theory-3fp7xrc6q4.pdf

Game Scoring: Towards a Broader Theory

C’est le hasard qui a voulu que Breath & Hammer, le premier album du Krakauer-Tagg Duo, sorte en plein milieu d’une periode ou une grande part du monde se calfeutrait pour ralentir l’hecatombe provoquee par la COVID-19. Nous naviguions alors entre canape et salle de bain, avec rares detours reglementes par la superette ou la pharmacie. Beaucoup balancaient entre angoisse exacerbee par les actualites, deuils impossibles de proches isoles, et teletravail ecrasant. Les « essentiels » devaient su...

/pdf/krakauer-tagg-duo-du-souffle-et-des-marteaux-pour-abattre-375b1g819g.pdf

Krakauer-Tagg Duo : du souffle et des marteaux pour abattre les murs du confinement

The extent to which disturbing video games incite real-world violence has been a source of intense debate since the late 1990s following school shootings across the United States. In 2017, the release of Team Salvato’s Doki Doki Literature Club! (DDLC!) signified
 a major shift in independent game developers’ approaches to creating a violent horror gaming experience: the developers include the use of nonlinear sound (e.g. frequency jumps, non-standard harmony, noise/chaos) and local-level melodic transformations to complicate player immersion.
 In this article, I argue that the game’s music is one of the greatest sources of horror. The game music in DDLC! works as both an immersive and a disruptive agent that shapes the player’s gaming experience. Though the game is a work of fiction, the emotions and reflections
 of the player prompted by the violent acts within are real ‐ the player’s experiences of horror, fear and terror are visceral.

Not suitable for the easily disturbed: Sonic nonlinearity and disruptive horror in Doki Doki Literature Club!

© 2014 Intellect Ltd Article. If you have ever experienced the cold chill of fear when watching a film or playing a video or computer game, it is highly probable that your responses have been manipulated by composers exploiting the musical resources of modernism, experimental music and the avant-garde. Depictions of fear, horror, amorality, evil and so on, have come to be associated with these sound worlds, particularly within the realm of popular culture. A number of game titles and franchises have emerged in recent years, which exploit these musical associations, exploring their creative potential as vehicles of fear and horror within the context of interactive game-play. Two composers associated with this approach are Jason Graves (Dead Space franchise) and Garry Schyman (Bioshock franchise, Dante’s Inferno). This article explores perceived links between avant-garde music (as defined in ‘populist’ rather than musicological or historical terms, as a ‘catch-all’ phrase for twentieth-century music exploiting experimental techniques, modernism and atonality) and depictions of horror and fear through interviews with Graves and Schyman. Further questions are posed to Paul Gorman (audio director – Dante’s Inferno) and Michael Kamper (audio director – Bioshock 2) to contextualize the discussion by demonstrating the significant creative influence of audio directors in guiding the musical approach taken by game composers. The article would be of potential interest to anyone with an interest in game audio, commercial composition/composers, game development, creative collaboration, audio direction and the power of music to manipulate the emotions in association with visual media.

Fear and the musical avant-garde in games : interviews with Jason Graves, Garry Schyman, Paul Gorman and Michael Kamper

The games industry is beginning to embark on an ambitious journey into the world of biometric gaming in search of more exciting and immersive gaming experiences. Whether or not biometric game technologies hold the key to unlock the “ultimate gaming experience” hinges not only on technological advancements alone but also on the game industry’s understanding of physiological responses to stimuli of different kinds, and its ability to interpret physiological data in terms of indicative meaning. With reference to horror genre games and music in particular, this article reviews some of the scientific literature relating to specific physiological responses induced by “fearful” or “unpleasant” musical stimuli, and considers some of the challenges facing the games industry in its quest for the ultimate “plugged-in” experience.

https://www.jstor.org/stable/10.5406/musimoviimag.8.1.0037

Plug-In to Fear: Game Biosensors and Negative Physiological Responses to Music

In 2012, the U.K. government launched its Dementia Challenge, authorizing additional funding for dementia research and health care. The search for curative medicines is ongoing, but scientific research reveals evidence that music can play a positive role in general health, and in dementia and Alzheimer’s disease in particular. This article considers whether some of the challenges that dementia presents could be addressed through music therapy and proposes that biometric gaming might offer one means of channeling such associated health benefits to sufferers of dementia, even in the final stages of the disease.

Dementia, Music and Biometric Gaming: Rising to the Dementia Challenge

Dementia, Music and Biometric Gaming

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Fear and the musical avant-garde in games : interviews with Jason Graves, Garry Schyman, Paul Gorman and Michael Kamper

Plug-In to Fear: Game Biosensors and Negative Physiological Responses to Music

Dementia, Music and Biometric Gaming: Rising to the Dementia Challenge

Dementia, Music and Biometric Gaming