Jason Brame Articles
2
2/6/16, 741 PM Page 1 of 2 http://www.jasonbrame.com/papers.htm#3 PAPERS and PUBLICATIONS Click on title for information and/or abstract. "Musical Thematic Unity Across a Video Game Series" Publication in Act. Zeitschrift für Musik & Performance Issue 2 Click here for full article. "Game Music Analysis: Creating and Analyzing Graphical Representations of Video Game Scores" Paper Presented at the T exas Society for Music Theory Conference , 2010 Available upon request. E xamining Non-Li near Forms: Te chniques for the Analysis of Scores Used in Video Games Masters Thesis, University of Texas Tech, December 2009 Availabl e upon request. Publish ed at T exas T ech's Online Thesis and Disserta tion Database. "Mussorgsky/Ravel’ s Pictures at an Exhibition: Faithful to the Wrong Source" Journal of the Conductors Guild, Vol. 29/1-2 (20 10) The Performance of New Music in Major American Orchestras: 1980 – 2000. Senior Honors Thesis, University of North Carolina at Chapel Hill, April 2007. Available upon request. Housed in the North Carolina Collection at th e University of North Carolina at Chapel Hill. ABSTRACTS and FURTHER INFORMATION "Musical Thematic Unity Across a Video Game Series" Click here for full ar ticle. Composer Koji Kondo's music for both Super Mario Bros. (Nintendo, 1984) and The Legend of Zelda (Nintendo, 1986) is among the most recognized video game music ever written. Through the use of motivic and prolongational analysis, this article demonstrates how Kondo created a unity across the entire Zelda franchise, while making each game's score unique by examining one musical element, the overworld theme, from each of the main entries in the Zelda series. Schenkerian analysis is used to identify structural and motivic relationships between the various themes. This article concludes with an examination of semiotic implications of this analysis and its impact on other aspects of the Zelda series and game music analysis as a whole. "Game Music Analysis: Creating and Analyzing Graphical Representat ions of Video Game Scores" Paper Presented at TSMT 2010 Video games are discussed in great detail among cultural, communications, and technology studies, but the scholarly study of video game music is only just beginning. However, the study of game music is almost exclusively in the realm of musicology , with much discussion on the subjects of game music in culture, history and development of game sound, and the aesthetics of video games. This paper explores a method of analyzing an entire video game score though the use of a game score graphing technique. Using The Legend of Zelda as a case example, I explore the creation of two different types of game score graphs that are used to provide a complete analysis of the game itself. After showing how Real-Time Game Score Graphs and Music Object Relation Graphs work, I show how these graphs help us understand Zelda and how the music functions within the game. For this paper, I use the graphs to explore how analysis can yield a complete tonal understanding of the game, how motives in the games blend within various connected music objects, and how both of these help to reinforce the narrative of the game. Examining Non-Linear Forms: Techniques for the Analysis of Scores Used in Video Games 86p (83p plus bibliography), includes figures and musical examples
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Transcript of Jason Brame Articles
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PAPERS and PUBLICATIONSClick on title for information andor abstract
Musical Thematic Unity Across a Video Game Series Publication in Act Zeitschrift fuumlr Musik amp Performance Issue 2 Click here for full article
Game Music Analysis Creating and Analyzing Graphical Representations of Video Game Scores Paper Presented at the Texas Society for Music Theory Conference 2010 Available upon request
E xamining Non-Li near Forms Techniques for the Analysis of Scores Used in Video GamesMasters Thesis University of Texas Tech December 2009
Available upon request Published at Texas Techs Online Thesis and Dissertation Database
MussorgskyRavelrsquos Pictures at an Exhibition Faithful to the Wrong Source Journal of the Conductors Guild Vol 291-2 (2010)
The Performance of New Music in Major American Orchestras 1980 ndash 2000Senior Honors Thesis University of North Carolina at Chapel Hill April 2007
Available upon request Housed in the North Carolina Collection at the University of North Carolina at Chapel Hill
ABSTRACTS and FURTHER INFORMATION
Musical Thematic Unity Across a Video Game SeriesClick here for full ar ticle
Composer Koji Kondos music for both Super Mario Bros (Nintendo 1984) and The Legend of Zelda (Nintendo 1986) is amongthe most recognized video game music ever written Through the use of motivic and prolongational analysis this articledemonstrates how Kondo created a unity across the entire Zelda franchise while making each games score unique byexamining one musical element the overworld theme from each of the main entries in the Zelda series Schenkerian analysis isused to identify structural and motivic relationships between the various themes This article concludes with an examination of semiotic implications of this analysis and its impact on other aspects of the Zelda series and game music analysis as a whole
Game Music Analysis Creating and Analyzing Graphical Representations of Video Game ScoresPaper Presented at TSMT 2010
Video games are discussed in great detail among cultural communications and technology studies but the scholarly study of video game music is only just beginning However the study of game music is almost exclusively in the realm of musicologywith much discussion on the subjects of game music in culture history and development of game sound and the aesthetics of
video games This paper explores a method of analyzing an entire video game score though the use of a game score graphingtechnique
Using The Legend of Zelda as a case example I explore the creation of two different types of game score graphs that are usedto provide a complete analysis of the game itself After showing how Real-Time Game Score Graphs and Music Object RelationGraphs work I show how these graphs help us understand Zelda and how the music functions within the game For this paper Iuse the graphs to explore how analysis can yield a complete tonal understanding of the game how motives in the games blendwithin various connected music objects and how both of these help to reinforce the narrative of the game
Examining Non-Linear Forms Techniques for the Analysis of Scores Used in Video Games86p (83p plus bibliography) includes figures and musical examples
8172019 Jason Brame Articles
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2616 7983098
Page ttpwwwjasonbramecompapershtm3
This paper develops techniques for the analysis of video game music with most of the focus on form and the analysis of entirevideo game scores Chapter 1 introduces the thesis and goals of the paper Chapter 2 gives an overview of video game musichistory a survey of current work on video game music research and terminology specific to video game pieces Chapter 3discusses some older musical concepts that are relevant to video game music such as the dice music from eighteenth centuryand twentieth century ideas of moment form and non-linear time
The formal elements that make up the analytical portion of this paper are explained in Chapter 4 This chapter goes methodicallythrough two different types of graphs that are used in game score analysis Chapter 5 takes these graphs and explores somecommon forms that have been identified Three full video game scores are then analyzed in detail in Chapter 6 showing howthese graphing techniques can be beneficial in analyzing video games Lastly Chapter 7 presents ideas on further research in
the largely unexplored area of video game music
MussorgskyRavelrsquos Pictures at an Exhibition Faithful to the Wrong Source14p (13p plus bibliography) includes examples
Though Ravels orchestration of Mussorgskys Pictures at an Exhibition shows many errors when compared to the manuscript of the piano edition it is likely that Ravel was working with a flawed edition of the piano score himself This paper compares thevarious piano editions of Mussorgskys score with the manuscript to prove Ravels intended faithfulness to the piano score andadvocate for minor revisions to Ravels orchestration to align it closer with the autograph manuscript
The Performance of New Music in Major American Orchestras 1980 ndash 200087p (49p plus appendices and bibliography)
New music seems to be rarely played by professional American orchestras This project focuses on the works performed duringthe subscription concerts of the Los Angeles Philharmonic the New York Philharmonic and the Chicago Symphony OrchestraSubscribers to a symphony are the financial core of the orchestras support They are the audience that an orchestra mustconsider when programming new works Overall more than 5500 pieces were performed between 1980 and 2000 but only 476of those pieces are new works Various factors contribute to the choice of repertory and composers My thesis discusses thecomposers and their music the conductors the orchestras and the pieces that received repeated performances Composerssuch as Witold Lutoslawski and Pierre Boulez obtained a high status as composers and were performed frequently while 104composers only received a single performance by these orchestras Conductors such as Daniel Barenboim and Leonard Slatkinfrequently performed new music yet Eric Leinsdorf who conducted regularly rarely programmed new music Frequentperformances of a work help establish it in the repertory of an orchestra and I investigate why works such as Boulezrsquos Notationsand Coriglianorsquos First Symphony were performed more frequently than most of the others This thesis discusses all theseaspects of new-music performance by exploring these three major American orchestras as case studies
Appendices New Works (listing of all works composed 1970-2000 performed during study) Sample Concert Programs (twoyears of concert programs from each orchestra) Data and Graphs Repeated Works
8172019 Jason Brame Articles
httpslidepdfcomreaderfulljason-brame-articles 22
2616 7983098
Page ttpwwwjasonbramecompapershtm3
This paper develops techniques for the analysis of video game music with most of the focus on form and the analysis of entirevideo game scores Chapter 1 introduces the thesis and goals of the paper Chapter 2 gives an overview of video game musichistory a survey of current work on video game music research and terminology specific to video game pieces Chapter 3discusses some older musical concepts that are relevant to video game music such as the dice music from eighteenth centuryand twentieth century ideas of moment form and non-linear time
The formal elements that make up the analytical portion of this paper are explained in Chapter 4 This chapter goes methodicallythrough two different types of graphs that are used in game score analysis Chapter 5 takes these graphs and explores somecommon forms that have been identified Three full video game scores are then analyzed in detail in Chapter 6 showing howthese graphing techniques can be beneficial in analyzing video games Lastly Chapter 7 presents ideas on further research in
the largely unexplored area of video game music
MussorgskyRavelrsquos Pictures at an Exhibition Faithful to the Wrong Source14p (13p plus bibliography) includes examples
Though Ravels orchestration of Mussorgskys Pictures at an Exhibition shows many errors when compared to the manuscript of the piano edition it is likely that Ravel was working with a flawed edition of the piano score himself This paper compares thevarious piano editions of Mussorgskys score with the manuscript to prove Ravels intended faithfulness to the piano score andadvocate for minor revisions to Ravels orchestration to align it closer with the autograph manuscript
The Performance of New Music in Major American Orchestras 1980 ndash 200087p (49p plus appendices and bibliography)
New music seems to be rarely played by professional American orchestras This project focuses on the works performed duringthe subscription concerts of the Los Angeles Philharmonic the New York Philharmonic and the Chicago Symphony OrchestraSubscribers to a symphony are the financial core of the orchestras support They are the audience that an orchestra mustconsider when programming new works Overall more than 5500 pieces were performed between 1980 and 2000 but only 476of those pieces are new works Various factors contribute to the choice of repertory and composers My thesis discusses thecomposers and their music the conductors the orchestras and the pieces that received repeated performances Composerssuch as Witold Lutoslawski and Pierre Boulez obtained a high status as composers and were performed frequently while 104composers only received a single performance by these orchestras Conductors such as Daniel Barenboim and Leonard Slatkinfrequently performed new music yet Eric Leinsdorf who conducted regularly rarely programmed new music Frequentperformances of a work help establish it in the repertory of an orchestra and I investigate why works such as Boulezrsquos Notationsand Coriglianorsquos First Symphony were performed more frequently than most of the others This thesis discusses all theseaspects of new-music performance by exploring these three major American orchestras as case studies
Appendices New Works (listing of all works composed 1970-2000 performed during study) Sample Concert Programs (twoyears of concert programs from each orchestra) Data and Graphs Repeated Works
