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A Composer's Guide to Game Music (MIT Press) Hardcover – February 14, 2014
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Phillips provides an excellent introductory look at a complex and evolving artistic field. This is not a music and computer science (CS) degree in 270 pages, but a conversation with a friend who quite logically lays out the field... Anyone connected with gaming will enjoy the result.
Already an acclaimed book, Phillips' hands-on insights and advice make this one a keeper.
You won't find a more comprehensive guide... this book is a welcome delight.
A Composer's Guide to Game Music, Phillips's 2014 book, offers a level-headed worker's tour of a fantasy-fueled world... Phillips thoroughly covers why music matters... and she calmly guides the reader through new and old world compositional problems...(Phillips's book) simply aims to be transparent and generous, and to offer a sensible, clear, and methodically minded explanation of how work happens in an illusory world.
(The Los Angeles Review of Books)
About the Author
Winifred Phillips is an award-winning game composer. Some of her video game credits include Assassin's Creed Liberation, Total War Battles: KINGDOM, God of War, multiple games in the LittleBigPlanet franchise (including LittleBigPlanet 3), The Da Vinci Code, Speed Racer, Shrek the Third, Spore Hero, and many others. Phillips is also the author of the bestselling book, A Composer's Guide to Game Music (The MIT Press 2014), which won the Global Music Award Gold Medal for an exceptional book in the field of music, and was described by The Boston Globe as "the first book designed to help experienced musicians brave the transition to the world of game composing." Phillips has received an Interactive Achievement Award / D.I.C.E. Award from the Academy of Interactive Arts and Sciences, three Hollywood Music in Media Awards, five Game Audio Network Guild Awards, three Global Music Awards, an IGN Best Score Award, a GameSpot Best Music Award, a GameZone Score of the Year Award, a GameFocus Award, and three Gracie Awards from the Alliance of Women in Media. She has released fifteen albums. Her soundtrack album for the Legend of the Guardians video game was the first video game soundtrack album released by WaterTower Music, the film music record label of Warner Bros. Music Connection Magazine described her as a "superstar of video game music."
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I guess my final verdict is "good, but not for me."
A Composer’s Guide to Game Music feels aimed directly at my archetype. It’s a crash course for composers who feel a deep desire to bring their craft to the gaming medium. It concentrates on passion and dogged determination while also explaining aspects as specific as necessary software and elevator pitches. Upon finishing the book, I came away with ideas, confidence, and direction. I feel a fire has been lit and I may actually know where to go from here.
This is a near mandatory read for anyone even considering entering the game music composition field. Start here, folks.
This book is applicable to any composer, though it is absolutely catered to the game composer. Several scientific studies and papers are discussed in order to educate and inform, but NEVER to dictate creative choices, which the author goes out of her way a number of times to point out. As a nerd, I really appreciated the in depth discussions of how modern science can contribute to the process but I never once felt like she was suggesting that this should trump the creative instinct of the writer; a perspective that I think would serve modern musicians well. I’ve worked with musicians in the past that really have a problem with utilizing this informed approach (it’s all feeeling maaann), which I don’t think I’ll ever understand, as there are countless examples of beautiful art that came out of this technique.
A number of concepts introduced are totally fascinating: Aleatoric music, Shepard Tones, The Idee Fixe. These topics provided endless inspiration and I’ll be rereading them again in the future as often as necessary. The author utilizes the visualization technique (discussed extensively in the book ‘Flow’, which you should read right now) to demonstrate the concept of the ‘linear loop’; by imagining a scenic forest that one walks through on a pleasant day and never realizes is just a loop that repeats endlessly as new stimuli is cleverly introduced.
The book offers a great deal more that what I’ve mentioned and I’m certain that anyone interested in working as a game composer would do well to read it; it will be within arms reach in my studio for a very long time.