Music Games Research Articles

Glasbene didaktične igre in glasbeno-razvojni dosežki prvošolcev

Our research interest was to determine how regular use of didactic musical games during the other school lessons influences the development of music skills and performance during the music lessons. The study sample included 71 year one children of the selected elementary school who conducted music didactic games in various subjects for four months. At the beginning and at the end of the four months period the children carried out specially developed 13 music tasks to determine their level of knowledge in various music skills. The children of the experimental group achieved better results on the tests than those of the control group in all measured categories.

КОНЦЕПТУАЛІЗАЦІЯ РИНКУ ЦИФРОВИХ МЕДІА В КОНТЕКСТІСВІТОВОЇ ЕКОНОМІКИ

The advent of new technologies, such as portative computers and the internet, favoured the formation and development of a new market — digital media market. In the past 15 years technologies have grown exponentially within media and entertainment, fundamentally affecting film, television, publishing, music and video games industries with new competition, innovative business models and new product landscapes. Thus, the digital media market, with its disruptive influence and growth potential, requires the comprehensive explanation and definition. The article raises a problem of digital media market lacking its clear conceptualization in the context of the world economy. The article provides a thorough analysis of existing researches of the digital media market and the overview of its place in the modern industry classifications. The authors enunciate their own up-to-date definition of digital media, which is the following: “Digital media refer to products and services in the digital format, produced by the media and entertainment industry group (according to The Global Industry Classification Standard), which can be created, viewed, distributed, modified and preserved through different digital devices.” The following structure of the modern digital media market was compiled: it consists of 7 segments, namely video-on-demand, video games, e-publishing, digital audio, social media, search engines and digital advertising.

KONSEP MAT DALAM MUSIK KULINTANG TARI MILUR

The function of kulintang music for the Komering tribe is as a supporting means to carry out the entire process of customary marriage of the Komering tribe. One of the marriage process in it there is a procession using milur dance accompanied by kulintang music. The concept of mat is a distinctive character as well as a guideline in the kulintang music game, so the writer is interested in studying the concept of mat in the komering kulintang music, especially in accompanying the milur dance. This study also analyzes the shape and structure of the kulintang music mat concept in the stages of the Komering marriage, especially in accompanying the milur dance. The analysis includes musical elements contained in the form and structure of the musical presentation such as phrases, figures and motifs. This study uses qualitative methods and data collection is done by observation, interviews, study of written data and documents. The results of this study conclude that the concept of mat in kulintang music to accompany the milur dance is a guideline for coordinating musical games so that each player can play his musical instruments correctly and appropriately. Whereas the form of kulintang music in accompanying the milur dance always begins with the concept of mat in each of its performances.

Gaming Musical Instruments

Abstract This article addresses the relationship between labour and learning a popular musical instrument like the guitar in the specific context of a video game. Most gamification theories promise that using a video game makes it easy to learn (Kapp 2012; Deterding et al. 2011). Even if this holds true, I argue that this kind of playfulness causes some backlash, which I observed during an experiment in which students played the music video game Rocksmith 2014. Learning and playing the guitar through the medium of a video game comes with diverse experiences as well as expectations that are closely related to the dichotomies between play and work, often discussed in game studies based on the famous texts by Johann Huizinga (2004) and Roger Caillois (1960). Learning any traditional music instrument requires much effort in several skill areas, for example, dexterity, hearing, sight-reading, and performance. In other words, it seems to be hard work and not at all playful like a video game. In this article, the various aspects of playful work and labourious play, found in both music education and guitar games, will be discussed against the backdrop of empirical findings including data from online interviews, research diaries and video recordings.

Mathematics and music game in the function of child’s cognitive development, motivation and activity

ABSTRACT The paper aims to present the extent to which the application of the concrete mathematical and musical play contributes to the child’s cognitive development. The research was conducted in two international schools in Belgrade, using the play titled ‘Musical Monkeys’. The results of the research have shown that this kind of approach in working with children encourages attention and motivation, activity and engagement, while requiring and encouraging critical thinking in solving the set of mathematical or musical tasks and contributing to cooperation as well as finding a joint strategy in problem-solving. The obtained results confirm that the children established connection between the mathematical and musical segments, reaching a culmination in a moment of interest within the play, and rises inevitable question – how can mathematics and music be connected?

AutoRhythm: A Music Game With Automatic Hit-Timing Generation and Percussion Identification

This article describes a music rhythm game called AutoRhythm , which can automatically generate the hit timing as game contents from a given piece of music, and identify user-defined percussion of real objects in real time for gameplay. More specifically, AutoRhythm can generate the hit timing of a piece of music based on onset detection, so the user can use any music from their own collection for the rhythm game. Moreover, to make the game more realistic, AutoRhythm also allows the user to interact with the game via any object that can produce percussion sounds, such as a pen or a chopstick hitting against a table. AutoRhythm can identify the percussions in real time to replace tapping on the screen. This real-time user percussion identification is achieved based on the frame-based power spectrum of the filtered recording after background music reduction, which is performed based on the concept of active noise cancellation, with the estimated noisy playback music being subtracted from the original recording. Based on a test data set of 100 recordings, our experiment indicates that our system can achieve an F -measure of 78.22%, which outperforms other well-known classifiers and is quite satisfactory for the purpose of gameplay.

Testing a Musical Game Activity for Community-Dwelling Older Adults

Leisure programs that combine music with active leisure activities are more common than music combined with passive activities. The latter offers alternatives for older adults with health declines. The purpose of this pilot study was to determine the effect of an innovative song bingo game on mood, satisfaction, and acceptability in community-residing older adults. The design was quasi-experimental. A convenience sample of 13 older adults (mean age = 74.4; 53.8% female, 38.5% black) were recruited from a community senior center. The intervention was an innovative song bingo program offered one time with staff assistance. A song list was created from age-appropriate music. Measures included a demographic survey, mood scale, and satisfaction and acceptability items. Data analysis was performed to compute descriptive items and compare mean mood scores before and after the program. Before the program, 33.4% of the participants reported their mood as “very happy” or “happy.” Afterwards, 61.5% reported their mood was either “very happy” or “happy.” When comparing the preprogram and postprogram mean mood scores, mean values increased from 5.0 (standard deviation [ SD] = 1.0) to 5.7 ( SD = 1.4), although the difference was not statistically significant ( t = −1.8, p = .09). Overall participants were satisfied and would play again. This program was cost-effective and improved mood in community-dwelling older adults. Replicating this study in a larger sample and different settings is recommended.

16th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain)

The 16th Sound and Music Computing Conference (SMC 2019) took place in Malaga, Spain, 28–31 May 2019 and it was organized by the Application of Information and Communication Technologies Research group (ATIC) of the University of Malaga (UMA). The SMC 2019 associated Summer School took place 25–28 May 2019. The First International Day of Women in Inclusive Engineering, Sound and Music Computing Research (WiSMC 2019) took place on 28 May 2019. The SMC 2019 TOPICS OF INTEREST included a wide selection of topics related to acoustics, psychoacoustics, music, technology for music, audio analysis, musicology, sonification, music games, machine learning, serious games, immersive audio, sound synthesis, etc.

57‐3: Distinguished Student Paper: EEG Analysis of Mixed Reality Music Rehabilitation System for Post‐Stroke Lower Limb Therapy

This paper proposed a mixed‐reality music rehabilitation (MR2) system using Mixed Reality goggle, inertial measurement unit(IMU)‐based sensors and electroencephalography(EEG) monitoring device. The rehabilitation task was designed as an MR music game. The preliminary EEG analysis result of healthy participants shows power suppression over sensorimotor cortex while using the MR2.

Pengaruh Terapi Musik dan Terapi Video Game terhadap Tingkat Nyeri Anak Usia Prasekolah yang Dilakukan Pemasangan Infus

The purpose of this study was to determine the differences in the average level of pain in preschoolers who were infused after being given music therapy and video game therapy at Bhayangkara TK III Hospital in Bengkulu city. This research is a quantitative study. This type of research is quasy experimental research with post test only control group approach, which is a study that did not take measurements before intervention. Measurements were only carried out after intervention, with 24 respondents taken in 2 groups, namely music therapy. and video game therapy. Data collection instruments used to measure pain with wong baker face pain rating scale. Data analysis using t-test The results of the study were that there were significant differences in the level of pain in preschoolers who were infused before and after being given music therapy and video game therapy. It is expected that nurses will apply music therapy and video game therapy as a technique for transferring pain to children.
 Keywords: Preschool, Video Game, Music, Pain Level.

“But I want to talk to you!” Perspectives on music therapy practice with highly verbal children on the autism spectrum

ABSTRACTIntroduction: This reflective paper offers a perspective on music therapy practice that explores how shared music experiences may provide opportunities for highly verbal children on the autism spectrum to expand their engagement in social play.Methods: Relevant literature from the fields of music therapy, child development, and the neurodiversity movement are discussed alongside the authors’ reflections on their work with children who bring verbal and gestural motifs into music therapy sessions. The case examples highlight moments where the music therapist transformed the child’s verbal and gestural material into interactive music-based games.Results: This paper proposes practice considerations for music therapists working with highly verbal children that centre around the therapist’s intention to support the child to interact with freedom and joy through musical play and foster relationships with others. These intersubjective moments within creative musical play experiences may create conditions for the child to explore different ways of being, interacting and communicating.Discussion: Musical games within the context of music therapy emphasise the relational value of a mutually created and shared world of meaning between the therapist and the child. The child’s verbal strengths are not simply acknowledged; they become the foundation for musical-play experiences that aim to expand their repertoire of social and relational experiences.

Examining a Universal Design for Learning Approach in Music Education

typical classroom in Ontario is filled with a variety of learners with diverse needs. These various needs require teachers to differentiate instruction or create a universal design for learning (UDL) so that all students can participate. As a result, research is needed to explore and describe successful programs that can support all learners. One way to do this is to develop pedagogical practices for atypical learners and examine how these could be broadened for more typical learners. This research examines a series of general music lessons, including singing, playing percussion instruments and musical games, for atypical twelve-year-old learners. An Action Research methodology was used to examine six weeks of lessons taught to three students by the primary researcher. Data were collected using reflective journals, portfolios and videos of the sessions. Thematic analysis was conducted to examine similarities and differences in learner profiles, trends in the content of the lessons and pedagogical development over time, as well as to define some strategies or activities that could form the basis of a UDL approach. Despite the students’ atypical learning profiles, only minor accommodations were required during lessons. Overall, this research demonstrates the value of a pedagogical approach that articulates learning goals while allowing the path to achieving those goals to be different for each student, reinforcing the importance of the UDL approach. Moreover, the action research methodology highlights the importance of incorporating opportunities to work with atypical students in music teacher education, so that future teachers can develop a UDL approach.

The Musicality of 140: Tempo, Rhythm and Structure

This paper explores relationships between video games and music through a close reading of the minimalistic platform game 140 (Carlsen, 2014). Of particular interest to this investigation are concepts of tempo, rhythm and structure, and how these ideas can be extended to discuss the immediate case study as well as video games as a medium. Most importantly, this analysis is concerned primarily with these elements in a performative, spatio-temporal sense as opposed to an expression of sonic qualities.Comparisons between video games and other forms of media, while certainly valuable, can become problematic as the interactive nature of games is inherently unique. While cinema or literary texts can be seen as interactive, it is the explicit nature of the interactivity that games manifest which sets them apart from other disciplines. It is in this sense, that commonality can be found between games and music through the act of play.140 facilitates a unique dialogue on this topic as it is a game that is intensely musical while also functioning outside of some of the precincts of traditional music games, providing a distinctive lens for analysis without being distracted by its own aesthetics. Evidence of this can be seen in the game’s design, aesthetics, mechanics and spatiality—a game where the player becomes part of a greater performance, enacting the musicality of space through play.Journal of Creative Technologies 2017 (6)

Transformations in serial music and language games

ABSTRACTThis study contributes to the investigation of formal similarities between music and language by examining commonalities between reversing operations found in language games and pitch patterns found in serial music. Our approach provides a new framework for analysing transformations in serial compositions, especially those involving pitch–class relationships between invariant hexachords. Although transformations in serial repertoire have been argued to be complex and difficult to aurally comprehend, we demonstrate that the structure of these transformations parallels language games commonly found across languages. Reference to language game patterning illustrates systematic relationships between hexachords which cannot always be related using conventional serial operators.

The Effect of Distraction during Labor Induction on Timing of Analgesia Request: A Randomized Clinical Trial.

To assess whether distraction using music and/or video games influences timing of analgesia request and improves pain outcomes in women undergoing labor induction. A total of 219 pregnant women with singleton gestation undergoing labor induction with a Foley bulb (FB) at term were randomized to distraction with music and video games via iPod (n = 109) or no iPod (n = 110). The primary outcome was the time from FB placement to request for pain medication. Secondary outcomes included number of patients requesting pain medication within 6 and 12 hours, type of pain medication received, pain visual analog scale scores, and patient satisfaction. Mann-Whitney's, chi-square, Kaplan-Meier's curves, and Pearson's product moment correlation were used for statistical analysis (significance: p < 0.05). Baseline characteristics were similar between the two groups. There was no difference in the time from FB placement until pain medication request between the groups. There were no significant differences in secondary outcomes. Increased per cent time of iPod use correlated with a longer time until pain medication request (R 2 = 0.22, p = 0.03). We were not able to show that distraction using music and video games delays timing of analgesia request or improve pain outcomes in pregnant women undergoing mechanical labor induction at term.

Unlimited Replays: Video Games and Classical Music by William Gibbons

Reviewed by: Unlimited Replays: Video Games and Classical Music by William Gibbons Julianne Grasso Unlimited Replays: Video Games and Classical Music. By William Gibbons. (Oxford Music/Media Series.) New York: Oxford University Press, 2018. [xii, 196 p. ISBN 9780190265250 (hardcover), $99; ISBN 9780190265267 (paperback), $29.95; ISBN 9780190265304 (Oxford Scholarship Online).] Figures, tables, bibliography, index. If you assume that video games are no place for the likes of Ludwig van Beethoven or Johann Sebastian Bach, you'd be right—and wrong. In Unlimited Replays: Video Games and Classical Music, William Gibbons explores how art and entertainment collide, blurring boundaries that otherwise seem clear. We learn not only that classical music can be found in many video games but also that the industry of classical music has increasingly looked to games and "gamification" to attract new audiences. And those are just two of many intersections of video games and classical music in this richly multifaceted volume. Gibbons, a musicologist, has written previously on French opera and historicity in Building the Operatic Museum: Eighteenth-Century Opera in Fin-de-Siècle Paris (Rochester, NY: University of Rochester Press, 2013). In several ways, Unlimited Replays is a similar book about music and historicity, but it is situated in the very time and place it aims to capture. Gibbons is already well published on the topic of video-game music (the study of which is often referred to as ludomusicology). Prior to Unlimited Replays, he coedited a volume of essays with K. J. Donnelly and Neil Lerner (Music in Video Games: Studying Play [New York: Routledge, 2014]). Forthcoming is another collection coedited with Steven Reale (Music in the Role-Playing Game: Heroes & Harmonies [New York: Routledge, 2019]). As a relatively young area in a quickly evolving industry, the study of music in video games nonetheless exists primarily in unpublished work. Gibbons draws on scholarly and journalistic articles but also frequently cites unpublished conference papers. Drawing on the most recent research is a boon to the book, to be sure, but it is also an indicator of Gibbons's scholarly inclusivity; rarely do bibliographies in musicology include work by graduate students, journalists, and bloggers alongside publications from established academic presses. In eleven brief but brimming chapters, Gibbons weaves a variety of cases, each clearly and concisely outlined to focus on how classical music (or simply the notion of classical music) is incorporated and interpreted in video games and beyond. Gibbons frequently draws on such intersections in other media— particularly film—to establish a precedent [End Page 306] for this practice, giving insightful historical context. At stake are questions about the highbrow and lowbrow dichotomy straddled by classical music in video games, the potential for games as art, and the nature of art in multimedia writ large. Chapter 1 establishes the assumed incompatibilities between video games and classical music, which are as much sociocultural as they are formal or technical. Classical music is commonly understood as a civilized art, while video games are slick entertainment for mass consumption. Nonetheless, Gibbons points out that these sharp definitions are inherently fluid, the boundaries made unclear by categories like "popular" classical music and the relatively new "artgame" genre of serious games (p. 16). With this rather shaky conceptual ground established, Gibbons guides the reader adeptly through cases that further problematize the high/low cultural strata. Chapter 2 considers the meanings game designers might draw from classical music. Here, Gibbons focuses on the use of classical music in games to signify real time/place associations. Punch Out!! (1987), for instance, draws on a notion of "Germanness" from Richard Wagner's music to introduce a German character. Of course, we're still on shaky ground—Gibbons notes that game designers often rely on a rather loose understanding of music history that is not particularly accurate or precise. (Hearing Bach to signify the medieval, for instance, might actually work well for a player accustomed to such anachronisms in other media.) Chapter 3 is a closer study of BioShock Infinite (2013), notable for its rather complex intertextuality between music and the game's metaphysical narrative. Gibbons discusses how classical music— and "classic" popular music—can be read as subtle commentary on the timetraveling...

Development of Wheelchair Device using Color Sensor and Study of Music Game

Development of Wheelchair Device using Color Sensor and Study of Music Game

The Impact of Music Games on the Social Interaction of Elderly Occupants in the Communal Room of a Nursing Home

The Impact of Music Games on the Social Interaction of Elderly Occupants in the Communal Room of a Nursing Home

Super Smash Covers!

Videogame music has crossed the boundaries of the digital realm and is now performed and remixed in online spaces and live venues. This is due to the interactive nature of gameplay, which promotes the appropriation, rework and remix of game music by gaming audiences. This relationship with music reinforces the engagement of gaming communities with the experiences they have collectively shared in the videogame space and translates it into a new one. In Australia, few bands dedicate themselves solely to the performance of videogame music, partly due to copyright restrictions and niche performance spaces and events, with some bands performing as a professional endeavour and others as a side project. This article focuses on the case studies of Australian videogame music cover bands Boss Fight and The Consouls, whilst analysing the spaces in which they perform, and how real-life performances influence the experiences of videogame communities.

Playing to learn or learning to play? PlayingRocksmithto learn electric guitar and bass in Nordic music teacher education

This article is based on a case study of how the Rocksmith entertainment music video game can be used in the context of studying electric guitar and bass as part of music teacher training. In empirical terms, we were interested in how music teachers’ knowledge becomes articulated in the pedagogical discourse of our participants. As conceptual points of departure, we used play theory, game studies, and the Technological Pedagogical Content Knowledge (TPACK) model of teacher's knowledge. Four ways of approaching the potential role of Rocksmith in music teacher education stand out as a result. In the discussion, we suggest that music gaming can be conceptualised as an activity that expands the reach of what can be considered as ‘playful’ and ‘serious’ in music teacher studies. Such an approach can guide our thinking about how different areas of music teachers’ knowledge merge into multidimensional competence, paving the way for further discussion about how ‘music educatorship’ can be constructed in the digital era.