Michiel Kamp – författare

Four Ways of Hearing Video Game Music offers a novel account of the ways in which video games invite us to hear and listen to their music. By taking a phenomenological approach to characterize music in video games, author Michiel Kamp asks what it is we hear in the music when we play a game. Drawing on past phenomenological approaches to music as well as studies of music listening in a variety of disciplines such as aesthetics and ecological psychology, Kamp explains four main ways of hearing the same piece of music--through background, aesthetic, ludic, and semiotic hearing. As a background, music is not attended to at all, but can still be described in terms of moods, affordances, or equipment. Aesthetic hearing is a reflective attitude that invites hermeneutic interpretation; ludic hearing on the other hand invites "playing along" to the music, either through embodied movement, or in response to the music's cinematic or theatrical connotations. Finally, in semiotic hearing, Kamp argues that we hear music as transparent symbols or signals that provide information about the state of a game. The book investigates these four categories through detailed case studies of video games from a variety of eras and genres accompanied by gameplay recordings and images on a companion website.

Four Ways of Hearing Video Game Music offers a novel account of the ways in which video games invite us to hear and listen to their music. By taking a phenomenological approach to characterize music in video games, author Michiel Kamp asks what it is we hear in the music when we play a game. Drawing on past phenomenological approaches to music as well as studies of music listening in a variety of disciplines such as aesthetics and ecological psychology, Kamp explains four main ways of hearing the same piece of music--through background, aesthetic, ludic, and semiotic hearing. As a background, music is not attended to at all, but can still be described in terms of moods, affordances, or equipment. Aesthetic hearing is a reflective attitude that invites hermeneutic interpretation; ludic hearing on the other hand invites "playing along" to the music, either through embodied movement, or in response to the music's cinematic or theatrical connotations. Finally, in semiotic hearing, Kamp argues that we hear music as transparent symbols or signals that provide information about the state of a game. The book investigates these four categories through detailed case studies of video games from a variety of eras and genres accompanied by gameplay recordings and images on a companion website.

Four Ways of Hearing Video Game Music offers a novel account of the ways in which video games invite us to hear and listen to their music. By taking a phenomenological approach to characterize music in video games, author Michiel Kamp asks what it is we hear in the music when we play a game. Drawing on past phenomenological approaches to music as well as studies of music listening in a variety of disciplines such as aesthetics and ecological psychology, Kamp explains four main ways of hearing the same piece of music--through background, aesthetic, ludic, and semiotic hearing. As a background, music is not attended to at all, but can still be described in terms of moods, affordances, or equipment. Aesthetic hearing is a reflective attitude that invites hermeneutic interpretation; ludic hearing on the other hand invites "playing along" to the music, either through embodied movement, or in response to the music''s cinematic or theatrical connotations. Finally, in semiotic hearing, Kamp argues that we hear music as transparent symbols or signals that provide information about the state of a game. The book investigates these four categories through detailed case studies of video games from a variety of eras and genres accompanied by gameplay recordings and images on a companion website.

Four Ways of Hearing Video Game Music offers a novel account of the ways in which video games invite us to hear and listen to their music. By taking a phenomenological approach to characterize music in video games, author Michiel Kamp asks what it is we hear in the music when we play a game. Drawing on past phenomenological approaches to music as well as studies of music listening in a variety of disciplines such as aesthetics and ecological psychology, Kamp explains four main ways of hearing the same piece of music--through background, aesthetic, ludic, and semiotic hearing. As a background, music is not attended to at all, but can still be described in terms of moods, affordances, or equipment. Aesthetic hearing is a reflective attitude that invites hermeneutic interpretation; ludic hearing on the other hand invites "playing along" to the music, either through embodied movement, or in response to the music''s cinematic or theatrical connotations. Finally, in semiotic hearing, Kamp argues that we hear music as transparent symbols or signals that provide information about the state of a game. The book investigates these four categories through detailed case studies of video games from a variety of eras and genres accompanied by gameplay recordings and images on a companion website.

The last half-decade has seen the rapid and expansive development of video game music studies. As with any new area of study, this significant sub-discipline is still tackling fundamental questions concerning how video game music should be approached. In this volume, experts in game music provide their responses to these issues. This book suggests a variety of new approaches to the study of game music. In the course of developing ways of conceptualizing and analyzing game music it explicitly considers other critical issues including the distinction between game play and music play, how notions of diegesis are complicated by video game interactivity, the importance of cinema aesthetics in game music, the technicalities of game music production and the relationships between game music and art music traditions. This collection is accessible, yet theoretically substantial and complex. It draws upon a diverse array of perspectives and presents new research which will have a significant impact upon the way that game music is studied. The volume represents a major development in game musicology and will be indispensable for both academic researchers and students of game music.