Video Game Music History PDF

The Earliest Video Games ​ First video games were in the 1950s and 1960s and were computer-based ○​ OXO (1952) and Tennis for Two (1958) ​ Early games and consoles had no sound Tennis for Two (1958) vs Pong (Atari, 1972) ​ These games are very similar ​ Only difference is that...

The Earliest Video Games ​ First video games were in the 1950s and 1960s and were computer-based ○​ OXO (1952) and Tennis for Two (1958) ​ Early games and consoles had no sound Tennis for Two (1958) vs Pong (Atari, 1972) ​ These games are very similar ​ Only difference is that Pong had more sound Video Games and Arcade Culture (1970s) ​ 1973 - 1977 was the start of the video game industry (centered on arcades) ​ Games usually only used sound effects ​ Everything was on one chip ○​ Space for music was minimal ​ Sounds and music attracts more customers ○​ Attraction mode Second Generation Consoles ​ Consoles like the Atari 2600 ​ 2 channels in sound chip ​ Shift to gaming in homes ​ Too many consoles and not enough games ○​ Decrease in sales (1977 - 1978) ​ Space Invaders (1978) revived the video game industry ○​ First game to have constant soundtrack during gameplay ○​ Simple and monophonic → only 4 notes ○​ Earliest uses of adaptive music The Late 1970s: Programmable Sound Generators (PSGs) ​ “First dedicated sound chips” ​ Allowed for polyphonic (same time) music but commonly used for better sound effects  ○​ Mostly still monophonic and functional ​ Pac-Man ○​ First game to include cut-scenes → PSGs allowed this ○​ More variety of sound ​ Rally-X ○​ PSGs allowed repetitive sounds at different notes Arcade vs Home Consoles ​ Sound chips differed between consoles → varied audio quality ​ Dissonant (clash together) sounds because tunings were different Video Game Industry Crash (1983) ​ Too many games with similar concepts ○​ Space Invaders (1978) and Galaga (1981) ​ Rising interest in personal computers (like Apple II) since they can also do other things ​ Parental concerns about children spending too much time gaming ​ Atari discarded lots of game cartridges after the crash Rise of Personal Computers and The Commodore 64 ​ Apple II and Commodore 64 designed for home use and gaming The Commodore 64: ​ Used sound interface device (SD) as the sound chip ○​ Variety of notes/sounds ○​ Number of notes you can actually use was still limited ○​ Still subjects to technological constraint ​ Moondust (1983) ○​ No repeating music → created in real time ○​ Generative music (responds to users actions) The Nintendo Entertainment System (NES): 8-bit ​ 5 channels in sound chip ○​ 2 pulse (square) wave channels ​ Variety of notes ​ Smoother sounds → like sliding sound effects ○​ 1 triangle wave channel ​ Not as many notes available ​ Mostly baseline under the square ○​ 1 noise channel ​ White noise ​ Commonly used for percussion ○​ 1 delta modulation channel (DMC) ​ Audio sampling ​ Can only use 3 channels simultaneously ○​ Sound chip memory space is still limited ​ No sound envelopes in the NES Characteristics of The Nintendo Entertainment System (NES): 8-bit Music ​ Fast rhythms and/or arpeggiating notes ○​ Composers used lots of fast rhythms to make the music sound more full ​ Little variation in timbre or dynamics ​ Emphasis on waveform channels (square and triangle) ​ Limited use of samples The Nintendo GameBoy ​ 8-bit handheld console ​ Brought gaming back into the public sphere ​ Came with Tetris (1985) The Super Nintendo Entertainment System (SNES): 16-bit ​ New sound chip → S-SMP with greater audio capabilities than the NES ​ 8 channels + a noise channel ​ Control over sound envelopes Characteristics of The Super Nintendo Entertainment System (SNES): 16-bit ​ Longer and more complex pieces of music ​ Realistic timbres ​ Thicker and fuller textures ​ Less reliance on interplay of rhythms to create interest ​ More emphasis on orchestrated sound The Sega Genesis: 16-bit ​ Two sound chips ○​ Chip one: 3 square wave channels ○​ Chip two: 1 channel for samples and 6 frequency modulation (FM) synthesis channels ​ Overall better audio quality ​ Programming challenges: reuse of instruments and sounds between games Features of Music for the Sega Genesis: 16-bit ​ Mainly derived from prog rock ​ Short riffs over longer melodies ​ The use of ground bass (repeating bass line) ​ Lots of fast rhythms ​ Emphasis on keyboard, bass guitar, drums, and percussion Advances in Computer Audio: MIDI ​ Allowed “controllers” and computers to communicate with one another  ​ Limitations include: ○​ Only 128 instruments available ○​ Music sounded different depending on which computer it was played on CD-ROM Technology ​ Created significant advances in game music ○​ Use of real instruments ○​ Music was pre-recorded and streamed → better audio quality ○​ Composers had a better sense of how their music would sound ​ Technological limitations: ○​ Redbook Audio Standard → 80 minutes of storage Surround Sound (3D Audio) ​ Situates sound and music in a 3D environment ​ Increases player immersion ​ Important for first person shooter games The Sega Saturn: 32-bit ​ Uses a CD-ROM drive ​ Allowed for 32 channels of CD-quality audio ​ Internet connectivity for online gaming ○​ Beginning of multiplayer games and RPGs ​ Audio quality diminished by lack of memory space ​ Full Motion Videos (FMVs) were first introduced in 32-bit consoles ​ Music of 32-bit consoles were tailored to the games it accompanied (can’t tell whether a piece was written for a Sega Saturn or PlayStation game) The Sony PlayStation: 32-bit ​ Used CD-ROMs and (often) Redbook Audio for music ​ Also had MIDI capabilities ​ Better sound quality but decreased interactivity in game music ○​ Hard awkward cuts between tracks (transitions) The Nintendo 64: 64-bit ​ Used game cartridges → less storage capacity for music ​ Music used general MIDI ○​ Not recorded with live instruments ​ Less cinematic because there were fewer FMVs ​ Musical features are largely similar to SNES games Sixth Generation Consoles ​ Uses DVD Disc technology ​ Improved graphics, smoother gameplay, and better audio quality ​ Music uses MIDI or live recordings (or both) ​ Driven by aesthetics and budget; not technological limitations The Sega Dreamcast: Sixth Generation ​ Sega’s last console due to piracy issues ​ Built-in modem for online gaming ​ Used mini-CD discs and Sega’s own CD-ROM ​ Storage capacity issues → only 1gb of data The Nintendo GameCube: Sixth Generation ​ Nintendo’s first move away from game cartridges ​ Used GameCube Game Discs ○​ Difficult to pirate games ○​ Couldn’t play CDs or DVDs ○​ Less storage space → reduced graphics quality The Sony Playstation 2 and Microsoft Xbox (Sixth Gen) ​ Used DVD-ROMs ​ Surround sound capabilities ​ Different types of games for each console ○​ PS2 → action and RPGs ○​ Xbox → racing, FPS, and third person shooters Rhythm-Action Games ​ Originated in the 1970s ​ Many included gaming peripherals that were plugged into consoles ​ Brought gaming into the public sphere in the early 2000s ○​ Guitar Hero and Rock Band Seventh Generation Consoles ​ Include Wii, PlayStation3, and Xbox 360 ​ Better graphics and sound quality ​ More storage ​ Continue to be multifaceted → consumers can do much more than play games Microsoft’s Xbox 360: Seventh Generation ​ Had an HD-DVD player and used DVDs for games ​ Dolby Digital 5.1 surround sound and HD graphics ​ Xbox Live was expanded ​ Xbox Kinect → motion sensor with camera → increased interactivity Sony’s PlayStation 3: Seventh Generation ​ Dolby Digital surround sound and HD graphics ​ Used Blu-Ray discs ​ Could connect to PSN and PSP ​ Specialized in action games and RPGs The Nintendo Wii ​ Did not use HD graphics ​ Dolby Surround Pro-Logic created impression of surround sound ​ Wii remote Eighth Generation Consoles ​ Consoles include Xbox One, Playstation 4, and Wii U ​ PS4 and Xbox One → Blu-Ray discs ​ Wii U → Nintendo-made optical discs ​ HD graphics and surround sound ​ Increased online capabilities and multifunctionality Online Gaming ​ Casual games ○​ Flash and HTML (neopets.com) ​ Massively Multiplayer Online Games (MMOs) ○​ Originated in the late 1960s and 1970s → PLATO computer system ○​ Became immensely popular with World of Warcraft Mobile Gaming ​ Originated in 1997 with Snake (no sound) ​ Early 2000s: music is still subject to technological constraints ​ Casual games also have different requirements for music compared to full fledged games Retro Gaming ​ Driven by nostalgia for early games ​ Two forms: ○​ Re-release of older games for modern consoles ○​ New games with self-consciously retro aesthetic Remasters and Remakes ​ Makes older games more accessible to newer audiences ​ Allows original players to enjoy updated versions of the games on newer consoles ​ Music may have: ○​ Improved sound quality ○​ Rearranged ○​ New music may be added Ninth Generation Consoles ​ PlayStation 5, Xbox Series X/S and Nintendo Switch ​ Improved processing speed and graphics ○​ 4k or HD ​ Cutting edge surround sound (PS5 and Xbox) ○​ Switch → Pulse Code Modulation, not Dolby History of Virtual Reality (VR) ​ First VR headset → The Sword of Damocles (1968) ​ Sega’s 1993 VR headset was never made available for purchase ​ Oculus Rift (2016) → first modern VR headset ​ Current headsets have integrated screens and headphones Music for Virtual Reality Games ​ Unique musical requirements and concerns ○​ Immersion → very important ​ Binaural sound processing ○​ Sound quality may vary across headsets ○​ Players head movements can change the direction and volume of music ​ Audio prioritization People Hirokazu “Hip” Tanaka ​ Joined Nintendo as a sound designer in 1980 ​ Influences include: ○​ Brian Wilson ○​ Prince ○​ Rock bands (like My Bloody Valentine) ​ Passionate about reggae and dub music’ Koji Kondo ​ Joined Nintendo in 1984 as a composer (first one) ​ Influences include: ○​ Emerson Lake & Palmer ○​ Herbie Hancock ○​ Chick Corea Nobuo Uematsu ​ Joined Square in 1986 ​ Self-taught composer and musician ​ Notoriously eclectic compositional style ​ Influences include: ○​ Elton John ○​ The Beatles ○​ Pyotr Ilyich Tchaikovsky ○​ Progressive Rock Bands Koichi Sugiyama ​ Classically-trained musician ​ First video game composer to have his music recorded by a live orchestra ​ Influences include: ○​ Baroque  ○​ Classical Composers ​ J.S. Bach ​ Hadyn ​ Mozart Motoi Sakuraba ​ Joined Wolf Team as a composer ​ Composed music for video games, anime, and TV shows ​ Influenced by prog rock Yasunori Mitsuda ​ Started to write music for his own video games in high school ​ Had an internship at Wolf Team during college ​ Joined Square later ​ Influences include: ○​ Celtic music ○​ Composers ​ Ravel ​ Debussy ​ Tchaikovsky Hiroki Kikuta ​ Self taught composer ​ Worked as a manga artist and anime composer before joining Square ​ Very eclectic compositional style ​ Influences include: ○​ Pink Floyd Michiru Yamane ​ Studied music composition in college ​ Joined the Konami Kukeiha Club (sound team) ​ Influences include:  ○​ Prog rock ○​ Jazz ○​ Several Western art music composers (especially J.S. Bach) Grant Kirkhope ​ Scottish film and video game composer ​ Joined Rare Development Studio ​ Music often emphasizes fast tempos and rhythms ​ Uses different instruments to represent characters and/or settings Jeremy Soule ​ Written music for video games, movies, and TV shows ​ Started working at Square and later created a music company with his brother called Soul Media ​ Influences include: ○​ Debussy ○​ Mozart ○​ Wagner Masayoshi Soken ​ Plays piano and guitar ​ Joined Konami as a sound designer, then started working at Square ​ Performs and records with his rock group (The Primals) Bear McCreary ​ Written music for films, video games, and TV shows ​ Influences include: ○​ John Williams ○​ Danny Elfman ○​ Ennio Morricone ○​ Hans Zimmer Listening Music “Title Theme” from Metroid (8-bit) - Hirokazu “Hip” Tanaka ​ Low drone blurs the boundary between sound effect and music ​ Sparse texture at the beginning → represents outer space ​ Typical NES texture ○​ Melody + Accompaniment + Percussion ​ Sometimes uses 2 channels with different melody lines “Overworld Theme” from Super Mario Bros. (8-bit) - Koji Kondo ​ First video game to feature constant background music written by a professional composer ​ Generally uses typical NES texture ○​ Noise Channel: backbeat like in pop songs ​ Main melody is doubled sometimes → thicker sound “Castle Theme” from Dragon Quest (8-bit) - Koichi Sugiyama ​ Reflects Sugiyama’s Baroque and Classical influences ​ Only uses two channels (like Bach’s two-part counterpoint) ​ Emphasis on short rhythms ○​ Similar to the harpsichord “Fighting of the Spirit” from Tales of Phantasia (16-bit) - Motoi Sakuraba ​ Dense and synthesized texture ​ Prog rock influence ​ Pitch blends in melody emulate the electric guitar ​ Syncopated rhythms create forward momentum “Fear of the Heavens” (Main Theme) from Secret of Mana (16-bit) - Hiroki Kikuta ​ Opens with a “whale sound” to immerse players ​ Lush orchestration ​ Expressive woodwind melody with subtle dynamics → sound envelope control ​ Musical changes align with what is happening on screen “Labyrinth Zone” from Sonic the Hedgehog (16-bit) - Masato Nakamura ​ Classic Sega Genesis sound ​ Prog rock instrumentals and brass ​ Catchy synthesized melodic riff ​ Repeated bass pattern (ostinato) ​ Quick rhythms (especially in percussion) “Opening Theme” from Panzer Dragoon (32-bit) - Yoshitaka Azuma ​ Rail shooter game ​ Theme plays during the game’s opening movie ○​ FMV = Full Motion Video ○​ Almost through-composed “One-Winged Angel” from Final Fantasy VII (32-bit) - Nobuo Uematsu ​ Orchestra + choir ​ Longer loop and thicker texture than “Fighting of the Spirit” ​ Uses MIDI, not Redbook Audio ​ Builds tension through dissonance and “shrieking” violins “Finale Toccata” from Castlevania: Symphony of the Night (32-bit) - Michiru Yamane ​ Plays in the reverse/inverted castle ​ Reflects Yamane’s interest in the music of J.S. Bach ○​ Similar to the Toccata and Fugue in D minor ​ Dark and funeral like → organ and choir “Da Banana Bunch” (The DK Rap) from Donkey Kong 64 (64-bit) - Grant Kirkhope  ​ Theme song → plays during the opening movie ○​ Introduces the five playable characters ​ Inspired by the hip hop group called Run-DMC ​ Each verse features a different instrument “Dragon Roost Island” from The Legend of Zelda: The Wind Waker (Sixth Gen) - Koji Kondo ​ Peaceful panpipe melody with energetic accompaniment ​ Conveys island setting through mediterranean instruments ​ Spanish influence: castanets, mandolin, panpipes “Halo” (Main Theme) from Halo: Combat Evolved (Sixth Gen - DVD Optical Discs) ​ Beginning evokes Gregorian chant from the Middle Ages ○​ Unison male voices; mostly stepwise motion ​ Strings and percussion to build a very dense texture ○​ Fast driving rhythms ○​ Lots of large ascending leaps → heroic epic quality “The Ocean on his Shoulders” (Main Theme) from BioShock (Seventh Gen) ​ Combines 20th century modernist music with a haunting violin melody ​ Opening → very dissonant; bordering on atonal ○​ No certain tone which makes it unsettling ​ Middle → strings + violin solo; a lament ​ Lament overtaken by eerie string glissandos and tremolos; sudden noises “Acre Underworld” from Assassin’s Creed (Seventh Gen) ​ Combines balinese gamelan-esque percussion, orchestral instruments, and synthesized sound/noises ​ Sung and whispered latin chant → christian affiliation of acre ​ Dissonance and synthesized sounds → ominous atmosphere “Seashore War” from Donkey Kong Country: Tropical Freeze (Eighth Gen) ​ Guitar melody and marimba ostinatos convey island setting  ​ “Icy” synthesized sounds and glockenspiel ​ Backbeat → gentle forward momentum “V Has Come To” from Metal Gear Solid V: The Phantom Pain (Eighth Gen) ​ Highly cinematic → builds to very thick texture; triumphant strings and horny melody ​ Example of sound sculpting ○​ Very controlled and nuanced dynamics (volume) ○​ Heavy reverb → rich heroic sound ○​ Electronically-processed sounds → mildly ominous “Ruins” from World of Warcraft (Online Gaming) ​ Cinematic quality → orchestra and choir ​ Mainly ambient music ○​ Generally avoids clear melodies ​ Conveys the mystery of the game’s ruins ○​ Short ostinatos in the string and harp ○​ String drones create some tension “Main Theme” from Angry Birds (Mobile Games) ​ Fun and energetic → short, catchy melodies with quirky irregular rhythms ​ Leapy tuba accompaniment adds a sense of humour ​ Middle section emulates bird chirps ​ Opening returns at the end but more comical “Main Theme” from Shovel Knight (Remasters and Retro Games) ​ Emulates 8-bit music and graphics ​ Music shares many features with NES soundtracks ○​ Quick rhythms and arpeggiating accompaniment ○​ Noise channel for percussion ​ Still has some different control over dynamics (thicker texture) “No Escape” from Hades  ​ Inspired by heavy metal music ​ Includes traditional mediterranean instruments ○​ Eg. greek bouzouki ​ Features the four-note “Hades” motive ​ Loss of repetition of material → unwavering? “A Son’s Path” from God of War: Ragnarok ​ Theme for Kratos’ teenage son Atreus ​ Uses elements from his parents themes ○​ Eg. Kratos’ three note motive in reverse ​ Incorporates Norwegian and Swedish instruments → hardanger fiddle and nyckelharpa ​ Driving rhythms → youthful vigor Class Music