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Table des matières
Background.- Game mechanics and music.- Agency and experience.- Emerging possibilities.
A propos de l'auteur
Paul Turowski is a composer, performer, and Senior Lecturer in Music and Game Design at the University of Liverpool. His research focuses on fusions of digital gameplay and music-making to explore broader topics such as player agency and multimodal representation. His creative work has been internationally presented and performed by various professional ensembles.
Simon Hutchinson is Professor of Music at the University of New Haven. He is a composer and interdisciplinary artist whose work investigates the cultural narratives that are embedded in our interactions with technology. His creative and scholarly output spans such topics as interactive media, digital aesthetics, and the implications of emerging technologies.
Takuto Fukuda is Assistant Professor in Electronic Music and Media Arts at the University of Pécs. He is a composer, researcher and educator who uses music technologies to question preconceived boundaries of human conditions, such as those between human and non-human, normal and abnormal, and able and disabled. His creative and scholarly output has been presented at various international festivals and conferences such as Ars Electronica, ISCM, ICMC, NIME and TENOR.
Résumé
This SpringerBrief introduces and examines “digital gameful compositions” (DGCs) in interactive computer music, i.e. interdisciplinary new media works that substantially integrate both digital games and music performance. DGCs are performative, interactive musical works structured by game mechanics, in which the music emerges through the dynamic engagement of the player-performer within the system.
The book is organized into four chapters, exploring the conceptual, technical, and experiential dimensions of DGCs. Chapter 1provides foundational context for understanding DGCs by tracing the historical and theoretical intersections of music and games. Next, chapter 2focuses on the mechanics of DGCs and how these systems generate musical meaning. It examines how game mechanics can function as digital scores, musical instruments, and virtual performance spaces. Chapter 3thenexplores the role of agency and experience in DGCs, focusing on how performers and audiences engage with these works. It applies semiotic frameworks to analyze how meaning emerges through interaction, and introduces concepts such as ergodicity, decision space, and the hierarchy of interactive forms. It also addresses the role of the audience, discussing transparency, participation, and the aesthetics of fun and play. Finally, chapter 4looks toward the future of DGCs by examining how emerging technologies are reshaping the medium. It considers how these technologies expand the expressive potential of DGCs by enabling new forms of embodiment, interaction, and collaboration.
