The Hollywood sound paradox: A regress of game music to film music origins

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F17%3A00099692" target="_blank" >RIV/00216224:14210/17:00099692 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.uk.ukf.sk/data/music/20/247-273-Flasar.pdf" target="_blank" >https://www.uk.ukf.sk/data/music/20/247-273-Flasar.pdf</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.17846/HII.2017.20.247-273" target="_blank" >10.17846/HII.2017.20.247-273</a>

Jazyk výsledku

angličtina

Název v původním jazyce

The Hollywood sound paradox: A regress of game music to film music origins

Popis výsledku v původním jazyce

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.

Název v anglickém jazyce

The Hollywood sound paradox: A regress of game music to film music origins

Popis výsledku anglicky

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.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

—

Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2017

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Hudba – Integrácie – Interpretácie

ISSN

1338-4872

e-ISSN

—

Svazek periodika

20

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

SK - Slovenská republika

Počet stran výsledku

27

Strana od-do

247-273

Kód UT WoS článku

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EID výsledku v databázi Scopus

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