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Music in video games is often a sophisticated, complex composition that serves to engage the player, set the pace of play, and aid interactivity. Composers of video game music must master an array of specialized skills not taught in the conservatory, including the creation of linear loops, music chunks for horizontal resequencing, and compositional fragments for use within a generative framework. In <I> A Composer's Guide to Game Music</I>, Winifred Phillips -- herself an award-winning composer of video game music -- provides a comprehensive, practical guide that leads an aspiring video game composer from acquiring the necessary creative skills to understanding the function of music in games to finding work in the field. Musicians and composers may be drawn to game music composition because the game industry is a multibillion-dollar, employment-generating economic powerhouse, but, Phillips writes, the most important qualification for a musician who wants to become a game music composer is a love of video games. Phillips offers detailed coverage of essential topics, including musicianship and composition experience; immersion; musical themes; music and game genres; workflow; working with a development team; linear music; interactive music, both rendered and generative; audio technology, from mixers and preamps to software; and running a business. <I>A Composer's Guide to Game Music</I> offers indispensable guidance for musicians and composers who want to deploy their creativity in a dynamic and growing industry, protect their musical identities while working in a highly technical field, and create great music within the constraints of a new medium.
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I just purchased this book at Game Developer's Conference 2014 a few days ago. I have to say, I'm thoroughly impressed with the content. There are a few other game audio related books out there that are also good reads, but none of them approach the subject from this particular angle, and with the level of academic finesse that Phillips has.
From the beginning, it's clear that the author draws from a variety of academic disciplines to explain aspects of game audio that are below the surface. I especially appreciate the number of psychological references and studies that she brings into the discussion of music cognition, and how a composer can use those modes of understanding in writing our music.
It should be said that the voice of this book assumes a proficient understanding of composition, music theory, and musical styles, but there are still many valuable insights for those who are beginning as composers as well.
Overall, the main premise of the book could be summed up by encouraging composers to think and be purposeful. Everything from the types of musical styles that we write, to the types of gamers we write for can have purpose and intent beyond throwing a few notes into a sequencer that sound "epic." The author takes quite a few chapters explaining, quite eloquently, that being a composer for games is a unique art form which asks us to be in service of the story, while maintaining our individual voice.
By Stephen Froeber
This was a very interesting and inspiring book. W.P. writes with great enthusiasm and dedication to her profession. Truly a delight!
By Willem Claesen