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Game Music s Redemption
by Silvia Francesca Maglione
In the classical music community, game music has always been categorized as modern, almost hip-hop music. In this way, this particular music genre was clearly defined as not being part of the “educated” classical music. Despite what one might think, game music is, and should be considered, as a genre unique in its kind. A suite from a game must have various and sundry qualities; in some cases it must simply accompany the player but yet not distract him. In other cases, the same piece should motivate the player by causing a release of serotonin. Synchronised to the game’s pace, the music should even warn the player through particular harmonies while building up to a conclusive release of adrenalin in the final scenes. These techniques in composing require a thorough knowledge of music and understanding of the human brain.
These compositions are then performed by the best orchestras available and augmented in effectiveness through computer technology. Evaluating an orchestra performing game music is done by using different standards than the ones adopted to judge classical music. Game music is meant to communicate to the player something unique, impossible to disclose otherwise. In game music, composers, directors and performers are free from that counterproductive need of advertising their ostentatious musical qualities through a music piece. This happens because in game music, the sounds are to blend together sublimely with no particular acknowledgement to an amazing violin soloist or passionate director. Their concerted effort will favour the player’s concentration to a better game result. Distinguished game music composers such as Martin O’Donnell, Alexander Brandon, Michael Slavatori, David Arkenstone and Nobuo Uematsu wrote music for the most successful games of the last decade. Their music stimulated countless players from around the globe to play the game, and finish it. It glued many players to their seats and let them go through the game in a sensation of fantasy realm. This effect might be attributed by the most to the music itself as well as in its distribution and crucial sequence of the tracks.
Game music is just as musically elaborate and should be considered as highly as any good classical music piece is. The fact that it is a recent and commercial product should not stop classical music enthusiasts from taking this music genre into consideration. Game music has the ability to astound with its perfect connection to one’s thoughts and actions while playing the game.
The views and opinions in this blog post are those of its author.
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