Dear all,
Please join us for the final workshop of the quarter, as Peter Shultz comes from Minnesota to talk about a chapter of his dissertation, titled “Breaking Routine.” We’ll meet on Wednesday, December 4, at the usual time and place (4:30–6:00 p.m. in the Logan Terrace Seminar Room, 801) for food, drink, and good conversation! Julianne Grasso will be the respondent.
The document is available on the Downloads page, with password play.
Peter writes:
Chapter 4: Breaking Routine
The preceding chapters have discussed music’s roles in the contexts of embodied interaction and virtual spaces. They deal with music mostly in isolated “moments,” one cue at a time: musical cue A corresponds to action B in space C. This kind of picture is useful for drawing attention to the larger systems in which the musical score participates, involving bodies, places, and social identities. But by taking the music one cue at a time, it leaves out the context of other music.This chapter treats game music in a musical context. It proposes a framework for musical context that is intimately tied to action and experience. It claims that game music ought not to be conceived as a monolithic score, but rather as sets of routines, jointly enacted by human and computer in interlocking combinations, and constantly reshaped and remade in the course of play. In some Japanese role-playing games (JRPGs), they are even broken for narrative effect. Borrowing a term from linguistics, the final part of the chapter treats these breaks in routine as instances of musical implicature.
The preceding chapters have discussed music’s roles in the contexts of embodied interaction and virtual spaces. They deal with music mostly in isolated “moments,” one cue at a time: musical cue A corresponds to action B in space C. This kind of picture is useful for drawing attention to the larger systems in which the musical score participates, involving bodies, places, and social identities. But by taking the music one cue at a time, it leaves out the context of other music.This chapter treats game music in a musical context. It proposes a framework for musical context that is intimately tied to action and experience. It claims that game music ought not to be conceived as a monolithic score, but rather as sets of routines, jointly enacted by human and computer in interlocking combinations, and constantly reshaped and remade in the course of play. In some Japanese role-playing games (JRPGs), they are even broken for narrative effect. Borrowing a term from linguistics, the final part of the chapter treats these breaks in routine as instances of musical implicature.
See you there!
Ana and Chelsea