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Music of the Nintendo Entertainment ...

Schartmann, Andrew.

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Music of the Nintendo Entertainment System: Technique, Form, and Style.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Music of the Nintendo Entertainment System: Technique, Form, and Style./
作者:	Schartmann, Andrew.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
面頁冊數:	287 p.
附註:	Source: Dissertations Abstracts International, Volume: 80-02, Section: A.
Contained By:	Dissertations Abstracts International80-02A.
標題:	Music history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10927904
ISBN:	9780438194748

Music of the Nintendo Entertainment System: Technique, Form, and Style.
Schartmann, Andrew.

Music of the Nintendo Entertainment System: Technique, Form, and Style. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 287 p.

Source: Dissertations Abstracts International, Volume: 80-02, Section: A.

Thesis (Ph.D.)--Yale University, 2018.

This item must not be added to any third party search indexes.

Video game music is increasingly prominent in popular culture. From performances and recordings by major orchestras to samples in Top-40 hits, music written originally for computer games and home consoles has resurfaced as a respected creative force. For the past decade, scholars have been studying this music and the technologies that underlie it, with an eye toward how video game music differs from other musics. Most have emphasized the genre's interactive nature-the fact that a player's input affects the audio output-and indeed this remains a central concern of the field today. Fruitful though it may be, this emphasis has left the majority of video game music from the 1980s and 90s out of the conversation. This dissertation sheds the lens of interactivity to examine music of the Nintendo Entertainment System (NES) in light of constraining factors pertinent to the time of its commercial run (1985-95). It shows how composers of the NES era not only devised techniques to surmount severe technological limitations, but also used those techniques to produce musically effective results. In particular, it shows how suffocating restrictions on system memory, combined with a mandate to fill hours of gameplay with music, forced composers to reckon with a perplexing compositional challenge: how do you write music that is endlessly repetitive without drawing attention to the fact that it is repeating? Parts 1 and 2 detail the principal compositional methods that emerged in response to this challenge: one which transformed the audio processing unit's quartet of rigid sounds into an ensemble of surprising flexibility (Part 1), the other which employed variegated repetition structures to disguise looping boundaries (Part 2). Taken together, these chapters expose the foundation on which the NES style is built, and propose a theory of form for the analysis of NES music. Part 3 demonstrates this theory's hermeneutic potential with an in-depth analysis of Capcom's Mega Man series that draws on Japanese cultural studies, postwar Japanese history, and popular music studies, making plain the rich web of cultural associations that play into NES music. It also suggests how a better grasp of those associations might enhance our understanding of subjects well beyond the traditional boundaries of ludomusicology. Ultimately, the treatment of non-interactive video game music given here proposes a shift in analytical priorities within the field, and shows how early video game music responds to humanistic inquiry just as well as its younger, more popular, siblings. By exploring the technique, form, and style of NES music free from the specter of the interactivity, this dissertation shows how a change in perspective is all that separates the dismissal of a "simplistic" repertoire from the discovery of its compositional and cultural richness.

ISBN: 9780438194748Subjects--Topical Terms:

3342382
Music history.

Music of the Nintendo Entertainment System: Technique, Form, and Style.
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