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Video games and film share many similar characteristics from both a narrative and musical perspective. These media present compelling stories to their respective audience by incorporating similar plot devices, which are enhanced by soundtracks that often endure similar compositional techniques. Among these are the use of recurring associative themes, leitmotivic scoring, transformative procedures, and the manipulation of diegetic and nondiegetic boundaries.

Despite these similarities, musical scoring to video games differ greatly from their cinematic counterpart. This may be due most notably to the fact that video games enjoy a deeper level of interaction with their players than films do with their audiences. As a result, time is experienced much differently among the two mediums. While films may span only a few hours, video games may span hundreds of hours, requiring different compositional strategies in its scoring.

With the abundance of games based on pre-existing films, films based on pre-existing games, and original role-playing games drawing on filmic techniques and narratives, we have a unique opportunity to strengthen our understanding of music’s role in these two similar, yet unique mediums. We are looking for writers who are interested in in contributing their research regarding music in the so-called “film-based video game” and the “game-based movie.” Topics may include (not limited to):
The book will be split into four sections:
Completed chapters should be between 7000 and 10000 words. Successful chapters should explore compositional processes in both film and video games as a comparative analysis.
Please send abstracts (~300 words) and a bio to richanatonemusic -at- by March 31, 2021.

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