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Writing Interactive Music for Video Games: A Composer's Guide, 1st edition
Published by Addison-Wesley Professional (September 19, 2014) © 2015
- Michael Sweet
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This is the first complete guide to composing interactive scores for video games. Authored by the developer of Berklee College of Music's pioneering Game Audio program, it covers everything professional composers and music students need to know, and contains exclusive tools for interactive scoring previously available only at Berklee. Drawing on his experience as an award-winning video game composer -- and in teaching hundreds of music students -- Michael Sweet brings together comprehensive knowledge presented in no other book.
About This Book        xxvii
Acknowledgments       xxix
About the Author         xxxi
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Introduction        1
Welcome  2
Structure of the Book  6
Conventions Used in This Book  11
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Part I: Scoring for Games        13
Chapter 1: The Language of Music Storytelling in Games        15
What Makes a Video Game Unique?  16
Types of Music within Games  21
Exploring Music Function within Games  26
Synchronization and Integration of Music  28
Music Conceptualization  29
Analysis and Critique of a Game Score  32
Review  33
Exercises  34
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Chapter 2: Breaking Down the Language of Interactive Music        35
What Is Interactive Music?  36
Types of Interactive Music  37
Control Inputs  42
The Composer’s Toolbox  44
Review  50
Exercises  51
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Chapter 3: Spotting the Game         53
The Game Production Process  54
The Spotting Process  55
The Goals of a Video Game Music Score  58
Video Game Scoring Techniques  62
Music Control Inputs  65
Repetition, Randomization, and Surprise  66
Review  67
Exercises   68
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Chapter 4: Working with a Game Development Team         69
Who’s in Charge?  70
Collaborating and Approving the Music  72
Preparing for Music Production  76
Review  81
Exercises  83
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Chapter 5: Video Game Composition over the Past 40 Years           85
Why Video Game History Is Important  86
The Dawn of Coin-Operated Machines  87
The Ascent of the Arcade Machine  89
The Game Console Revolution  93
The Evolution of PC Gaming  97
The Rise of Handheld and Network Games  100
The Advancement of Audio Middleware  102
The Evolution of the Modern Gaming Platform  105
Review  107
Exercises  108
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Chapter 6: Historical Perspective of Experimental Music         109
The Beginning of Interactive Music  110
Pre-Twentieth Century  110
1900–1950   112
Post-1950s   115
Review  120
Exercises  121
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Part II: Fundamental Video Game Scoring Techniques         123
Chapter 7: Composing and Editing Music Loops         125
The Art of Looping Music  126
Musical Construction, Connections, and Cadences  128
Audio Editing  131
Auditioning Your Finished Loops  139
Review  140
Exercises  141
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Chapter 8: Horizontal Resequencing        143
Sequencing Music in Real Time  144
Crossfading Scores  145
Transitional Scores  147
Branching Scores  149
Composing for Horizontal Resequencing  151
Review  152
Exercises  153
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Chapter 9: Vertical Remixing             155
Remixing Music for Intensity  156
Deciding How Many Layers to Use  158
Types of Vertical Remixing  159
The Art of Fading Layers In and Out  160
Nonsynchronization of Layers  162
Composing for Vertical Remixing  163
Review  164
Exercises  164
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Chapter 10: Writing Transitions and Stingers           165
Enhancing without Interrupting  166
Connecting Two Pieces of Music  166
The Concept of Musical Interruption  167
Composing Transitions  168
Transition Construction and Considerations  169
Example Transitions  171
Using and Placing Stingers  172
Review  173
Exercises  174
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Chapter 11: Using Sound Design Techniques in Music           175
What Is Sound Design?  176
Basic Synthesis  177
Audio Signal Processing  182
Techniques for Creating Sound Design  183
Review  185
Exercises  185
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Chapter 12: Music as a Gameplay Element          187
Engaging Players with Music  188
Music Games  188
Level Design, Construction, and Adaptation  194
Instruments in Interfaces and the Game World  195
Diegetic Music in Video Games  195
Music Approaches in Other Games  196
Review  196
Exercises  197
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Part III: Advanced Video Game Scoring Techniques          199
Chapter 13: MIDI and Virtual Instruments            201
An Alternative to Prerendered Audio  202
Working with MIDI-Based Scores  204
Using Virtual Instruments  206
Review  209
Exercises  209
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Chapter 14: Real-Time Tempo Variation and Synchronization          211
Immersing the Player through Tempo  212
Varying Tempo Based on Game Events  212
Tempo Changes with Prerendered Audio  213
Tempo Changes with MIDI or MODÂ Â 215
Tempo Synchronization  216
Phrase Synchronization  216
Review  217
Exercises  218
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Chapter 15: Advanced Dynamic Music Manipulation Techniques         219
Weighing More Expensive Options  220
Melodic Manipulation and Reinterpretation  221
Ensemble, Rhythmic, and Style Alteration  221
Embellishment and Fills  222
Motivic Elements in a Running Score  223
Dynamic Reharmonization and Chord Mapping  224
Building an Event-Driven Sequencer  225
Review  226
Exercises  227
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Chapter 16: Aleatoric Performance Techniques for Video Games        229
What Is Aleatoric Composition?  230
Aleatoric Techniques  231
Review  234
Exercises  235
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Chapter 17: Algorithmic and Generative Music Systems        237
Using Algorithmic and Generative Music  238
Generating Music  239
The Rules of Game Composition  240
Mapping Control Inputs to Music  243
Applying Algorithmic Composition  243
Review  244
Exercises  245
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Chapter 18: Using Middleware to Create Advanced Compositions        247
Simplifying Composition with Middleware  248
Using Multiple Interactive Techniques  251
Creating Scores Using a Middleware Engine  251
Intelligent Music Engines  252
Looping within a Middleware Engine  254
Variation and Randomization  255
Review  256
Exercises  257
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Chapter 19: Creating a Custom Music Solution         259
Solving Problems with Custom Solutions   260
Limitations of Interactive Techniques  261
Teaching a Computer the Rules of Music  262
Selling the Idea to the Developer  262
Shaping an Interactive Musical Engine  263
Review  265
Exercises  266
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Part IV: Bringing Music into the Game         267
Chapter 20: Composing Music with a Digital Audio Workstation          269
Getting Started with a DAWÂ Â 270
Sequencer Setup and Track Layout  273
Planning for an Interactive Score  276
Transitioning between the DAW and the Game  279
Review  280
Exercises  281
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Chapter 21: Live Recording, Session Preparation, and Mixing          283
Elevating the Score with Live Musicians  284
Preparing, Orchestrating, and Arranging  284
Session Preparation and Planning  286
Exporting a Sequence to Another DAWÂ Â 290
Session Flow and Practices  291
Time Management  292
Final Mixing and Editing  292
Musicians and Recording  293
Review  297
Exercises  298
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Chapter 22: Mixing and Exporting Audio Files to the Game Engine         299
Considerations for Mixing Music for Games  300
Bouncing and Exporting Master Files  301
File Formats and Compression  302
Surround Mixing within Games  305
Review  307
Exercises  307
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Chapter 23: Implementation and Programming          309
Defining the Music Framework  310
The Implementation Process  311
Game Production Methodology  312
Balancing Compression with Quality  315
Allocating Time for Programming  318
Mixing and Real-Time DSPÂ Â 320
Review  321
Exercises  322
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Chapter 24: Large-Scale Music Development           323
Establishing a Unique Creative Direction  324
Unification and Planning  325
Organization, Revisions, and Backups  326
Mapping the Overarching Emotional Arc  328
Integration and Follow-Through  328
Large-Scale Interactive Music Challenges  329
Review  331
Exercises  332
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Part V: The Business of Scoring Music for Video Games           333
Chapter 25: The Life of a Video Game Composer            335
A Day in the Life of a Game Composer  336
The Business of Scoring Games  337
Working In-House versus Out-of-House  340
Skill Sets  344
Music Production Companies  346
Internships as Entry Points  346
Music Libraries  348
Review  349
Exercises  350
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Chapter 26: Contracts, Rights, and Work for Hire         351
The Legal Side of Composing  352
Non-disclosure Agreements  352
Music Rights and Work for Hire  354
The Project Contract  356
The Employment Contract  359
Demos  360
When Things Go Wrong  360
Federal Forms  361
Review  363
Exercises  364
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Chapter 27: Creating an Estimate            365
Proposing Your Talents and Fees  366
Questions for the Developer  366
Using an Estimate as a Sales Pitch  368
The Psychology of Bidding  369
The Organization of an Estimate  370
Breaking Music Down into Components  372
Determining How Much Music to Write  374
Knowing How Much to Charge  375
Review  377
Exercises  378
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Chapter 28: Contract Negotiation Tactics           379
Working for Less Than You’re Worth  380
Collaborating with Developers  381
Renegotiating the Estimate  382
Royalty Arrangements  383
Offering Discounts for Multiple Projects  385
Licensing  386
Additional Rights and Opportunities  386
Review  389
Exercises  389
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Chapter 29: How Composers Find Work          391
Building Relationships   392
Networking   393
Informational Interview   395
Video Game Conferences   395
Working for Free   397
Game Developer Organizations   397
Your Website and Blog   398
Social Networking   399
Cover Sheets and Résumés   400
Partnerships   400
Representation and Salespeople   401
Advertising and Public Relations Agencies   402
Review   403
Exercises   404
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Chapter 30: The Challenges of Working as a Composer           405
Setting Expectations and Goals   406
Traits for Success  407
Competition   414
Handling Rejection and Failure  415
Finances  416
Review    418
Exercises   419
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Part VI: Conclusion and Appendixes           421
Conclusion           423
Where to Go from Here  424
The Future of Game Scoring   424
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Appendix A: Companion Website and Supporting Software Tools      425
Companion Website   426
Composer Tools   426
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Appendix B: Glossary           427
Appendix C: Game Music Canon         437
1970 to 1989 Â Â Â 438
1990 to 1999Â Â Â 438
2000 to 2009 Â Â Â 439
2010 to 2013 Â Â Â 440
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Appendix D: Resources       441
Organizations   442
Game Conferences  442
Web Resources and Podcasts  442
Books    443
Audio Middleware  444
Game Engines and 3D Middleware   445
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Appendix E: Composer Biographies             447
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Index               453
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