The Hollywood sound paradox: A regress of game music to film music origins
| Autoři | |
|---|---|
| Rok publikování | 2017 |
| Druh | Článek v odborném periodiku |
| Časopis / Zdroj | Hudba – Integrácie – Interpretácie |
| Fakulta / Pracoviště MU | |
| Citace | |
| www | https://www.uk.ukf.sk/data/music/20/247-273-Flasar.pdf |
| Doi | http://dx.doi.org/10.17846/HII.2017.20.247-273 |
| Obor | Umění, architektura, kulturní dědictví |
| Klíčová slova | sound design; film music; Hollywood sound; game music; software; hardware; authenticity; regression |
| Popis | Roughly after a half century of the development of game sound and music, computer technology reached such a niveau that it could bring the most fantastic and never heard sounds woven into wholly original and subtle complexes that are fully immersive and ergodic. Instead of this we are experiencing a large romantic orchestra playing in a Hollywood movie style of the 1930s and later. That is the gist of what I am tending to call “the Hollywood sound paradox”. It seems there are two clashing tendencies in game music development: one technologically innovative and second stylistically regressive. In this paper I am questioning the process of constructing more and more sophisticated technologies to obtain older and older music genres. Is it possible that game music loses its authenticity originally based on specific media sound? This study provides three short analyses to suggest main stylistic categories of the current game music. |
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