| 000 | 03611nam a2200505 i 4500 | ||
|---|---|---|---|
| 001 | 6267379 | ||
| 003 | IEEE | ||
| 005 | 20220712204647.0 | ||
| 006 | m o d | ||
| 007 | cr |n||||||||| | ||
| 008 | 151223s2008 maua ob 001 eng d | ||
| 020 |
_z9780262033787 _qprint |
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| 020 |
_a9780262270694 _qebook |
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| 020 |
_z0262270692 _qelectronic |
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| 020 |
_z9781435677272 _qelectronic |
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| 020 |
_z1435677277 _qelectronic |
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| 035 | _a(CaBNVSL)mat06267379 | ||
| 035 | _a(IDAMS)0b000064818b439b | ||
| 040 |
_aCaBNVSL _beng _erda _cCaBNVSL _dCaBNVSL |
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| 050 | 4 |
_aML3540.7 _b.C65 2008eb |
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| 082 | 0 | 4 |
_a781.5/4 _222 |
| 100 | 1 |
_aCollins, Karen, _d1973- _922461 |
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| 245 | 1 | 0 |
_aGame sound : _ban introduction to the history, theory, and practice of video game music and sound design / _cKaren Collins. |
| 264 | 1 |
_aCambridge, Massachusetts : _bMIT Press, _cc2008. |
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| 264 | 2 |
_a[Piscataqay, New Jersey] : _bIEEE Xplore, _c[2008] |
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| 300 |
_a1 PDF (x, 200 pages) : _billustrations, music. |
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| 336 |
_atext _2rdacontent |
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| 337 |
_aelectronic _2isbdmedia |
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| 338 |
_aonline resource _2rdacarrier |
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| 504 | _aIncludes bibliographical references (p. [189]-196) and index. | ||
| 506 | 1 | _aRestricted to subscribers or individual electronic text purchasers. | |
| 520 | _aA distinguishing feature of video games is their interactivity, and sound plays an important role in this: a player's actions can trigger dialogue, sound effects, ambient sound, and music. And yet game sound has been neglected in the growing literature on game studies. This book fills that gap, introducing readers to the many complex aspects of game audio, from its development in early games to theoretical discussions of immersion and realism. In Game Sound, Karen Collins draws on a range of sources--including composers, sound designers, voice-over actors and other industry professionals, Internet articles, fan sites, industry conferences, magazines, patent documents, and, of course, the games themselves--to offer a broad overview of the history, theory, and production practice of video game audio. 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. | ||
| 530 | _aAlso available in print. | ||
| 538 | _aMode of access: World Wide Web | ||
| 588 | _aDescription based on PDF viewed 12/23/2015. | ||
| 650 | 0 |
_aVideo game music _xHistory and criticism. _922462 |
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| 650 | 0 |
_aMusic _xHistory and criticism. _922463 |
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| 650 | 7 |
_aMUSIC _xInstruction & Study _xTheory. _2bisacsh _922265 |
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| 655 | 0 |
_aElectronic books. _93294 |
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| 710 | 2 |
_aIEEE Xplore (Online Service), _edistributor. _922464 |
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| 710 | 2 |
_aMIT Press, _epublisher. _922465 |
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| 776 | 0 | 8 |
_iPrint version _z9780262033787 |
| 856 | 4 | 2 |
_3Abstract with links to resource _uhttps://ieeexplore.ieee.org/xpl/bkabstractplus.jsp?bkn=6267379 |
| 942 | _cEBK | ||
| 999 |
_c73034 _d73034 |
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