“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   All You Need to Know to Create Great Video Game Music   Written by the developer of Berklee School of Music’s pioneering game scoring program, this guide covers everything professional composers and music students need to know about composing interactive music for video games, and contains exclusive tools for interactive scoring—tools that were previously available only at Berklee.   Drawing on twenty years of professional experience in the game industry, Michael Sweet helps you master the unique language of music storytelling in games. Next, he walks you through the entire music composition process, from initial conceptualization and creative direction through implementation.   Inside, you’ll find dozens of examples that illustrate adaptive compositional techniques, from small downloadable games to multimillion dollar console titles. In addition, this guide covers the business side of video game composition, sharing crucial advice about contracts, pricing, sales, and marketing.   Coverage includes Overcoming the unique challenges of writing for games Composing music that can adapt in real time to player actions Developing thematic ideas Using audio middleware to create advanced interactive scores Working effectively with game development teams Understanding the life of a video game composer Managing contracts, rights, estimating, and negotiation Finding work   The companion website contains software tools to help you master interactive music concepts explored in this book, with additional resources and links to learn more about scoring for games. See Appendix A for details.

Table of Contents:
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