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About This Book xxvii
Acknowledgments xxix
About the Author xxxi
Introduction 1
Welcome 2
Structure of the Book 6
Conventions Used in This Book 11
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
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
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
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
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
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
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
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
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
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
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
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
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
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 MOD 215
Tempo Synchronization 216
Phrase Synchronization 216
Review 217
Exercises 218
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
Chapter 16: Aleatoric Performance Techniques for Video Games 229
What Is Aleatoric Composition? 230
Aleatoric Techniques 231
Review 234
Exercises 235
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
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
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
Part IV: Bringing Music into the Game 267
Chapter 20: Composing Music with a Digital Audio Workstation 269
Getting Started with a DAW 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
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 DAW 290
Session Flow and Practices 291
Time Management 292
Final Mixing and Editing 292
Musicians and Recording 293
Review 297
Exercises 298
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
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 DSP 320
Review 321
Exercises 322
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
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
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
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
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
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
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
Part VI: Conclusion and Appendixes 421
Conclusion 423
Where to Go from Here 424
The Future of Game Scoring 424
Appendix A: Companion Website and Supporting Software Tools 425
Companion Website 426
Composer Tools 426
Appendix B: Glossary 427
Appendix C: Game Music Canon 437
1970 to 1989 438
1990 to 1999 438
2000 to 2009 439
2010 to 2013 440
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
Appendix E: Composer Biographies 447
Index 453
Michael Sweet leads development of the game scoring curriculum at Berklee College of Music. Over two decades, he has been audio director on more than one hundred video games including the Xbox 360 logo and award-winning video games from Cartoon Network, Sesame Workshop, Shockwave, Real Arcade, Lego, and Microsoft. He has won the Independent Games Festival's Best Audio Award and the BDA Promax Gold Award for Best Sound Design, and has been nominated for four Game Audio Network Guild (GANG) awards.
“Behind every great game experience is an interactive score that defines the emotional through-line of a game. Writing Interactive Music for Video Games will show you how to create such a score, from basic concepts to sophisticated techniques. It is filled with advice from some of the greatest video game composers working today, and written with the clarity and insight that comes from experience.” –Tracy Fullerton, Director, USC Game Innovation Lab “Michael Sweet’s book provides a much-needed text that walks a composer through all of the critical considerations when first starting to work in the video game industry. Not simply a ‘how-to’ but a ‘why-to’ that dives deep into the aesthetics and best practices of writing an interactive score. Through his years of work in the industry and years of teaching, he is able to bring together a comprehensive discussion on composing interactive scores. Professor Sweet brings together the nuts and bolts, the business, and pertinent historical moments–all while setting composers’ expectations for working in the industry. There is no better book to be found if you are a composer looking to understand writing for games.” –Jeanine Cowen, Vice President for Curriculum and Program Innovation, Academic Affairs, Berklee College of Music “Michael Sweet demonstrates a formidable depth and breadth of knowledge related to adaptive music. He adroitly covers both the creative and technical components critical to being successful in this field. This book is a must-read for newcomers and experienced composers wanting to learn more about the art of video game composition.” –Chuck Doud, Director of Music, Sony Computer Entertainment Worldwide Studios “Clear, complete, concise, and filled with vital information. This is a must-read for any composer serious about scoring for games. If you want to know what makes game music unique, look no further; this book will take you to the next level!” –Steve Horowitz, Composer “The processes and techniques for composing for games has typically been a black art of strange terms and byzantine processes. Writing Interactive Music for Video Games uncovers the issues you have to deal with when composing music for games and presents them in an easy-to-understand way, from the creative and technical issues to making bids and dealing with contracts. An excellent resource for both the professional and aspiring composer, this book should be on the shelf of anyone interested in writing music for games.” –Brian Schmidt, Executive Director, GameSoundCon, and President, Game Audio Network Guild “Michael Sweet has written a thorough and comprehensive guide for any composer or audio professional wishing to understand the technical and creative aspects of scoring video games. Students and professionals at all levels will find this book valuable and well worth reading.” –Garry Schyman, Composer, Bioshock series, Middle-earth: Shadow of Mordor, Dante’s Inferno, and Xcom: The Bureau Declassified; and Adjunct Professor, USC’s SMPTV Program
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