A Composer's Guide to Game Music
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| Author | Winifred Phillips |
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| Country | United States |
| Language | English |
| Subject | Video game music / Music theory / Game studies |
| Published | February 14, 2014 The MIT Press |
| Pages | 288 |
| ISBN | |
Game Sound Production Guide - Composer Techniques for Interactive Music
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| Author | Winifred Phillips |
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| Country | Japan |
| Language | Japanese |
| Subject | Video game music / Music theory / Game studies |
| Publisher | August 26, 2015 O'Reilly Japan |
| Pages | 283 |
| ISBN | |
A Composer’s Guide to Game Music is a 2014 book written by Winifred Phillips, a video game composer with over 11 years experience creating music for such games as Assassin’s Creed Liberation, God of War and multiple games in the LittleBigPlanet franchise. Through the use of autobiographical anecdotes, scholarly discussion and practical advice, Phillips explores the creative and technical process of composing music for video games. The book was published by The MIT Press on February 14, 2014. The book has received many positive reviews and has won multiple awards.
Throughout the book’s fourteen chapters, Phillips draws from over a decade of experience as a composer in the video game industry in order to explore the creative and technical aspects of game music composition. The book investigates the specialized skills and training necessary for the pursuit of a game music career. The structural requirements of game music are discussed, including the distinctive creative workflow involved in composing both interactive and linear music for games. Dynamic music constructs such as horizontal resequencing, vertical layering, MIDI, MOD, and generative music are explored. Also included is an examination of technical abilities, equipment necessities, and software proficiencies that assist in the creation of music for games. The concluding chapter focuses on skills that help a game composer pursue a sustainable career, network in the video game industry, and build a resilient business.
Phillips intersperses practical advice with personal memories and anecdotes gleaned from her years in the video game industry. She describes the impetus that caused her to pursue a game music career, her early struggles to obtain work, her breakthrough when hired to join the music composition team for God of War, and her experiences during the development of several other game projects. Phillips also includes stories that explore the interpersonal dynamics within video game development and the gamer community, as well as the importance of game music fandom. The book periodically turns its attention to scholarly topics, including the influence of music on the immersion phenomenon, the relationship between game music and the Demographic Game Design (DGD) model, and several discussions of the role played by traditional music theory in the creation of music for video games.
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