I have been playing video games for as long as I can remember. I got my first console when I was about nine and have owned quite a few since then. With each new generation, the graphics got better, the game play was more fun, the story became more intricate and the music became bigger. Not only did the music get bigger in terms of quality but also it grew in terms of appeal. With each version that came out, there was a new technology, or there was a new method of conveying the music to the audience. Due to these advancements, listeners have been able to connect to the games more each time. Video game music has evolved tremendously over the years as well as having had a profound effect on popular culture.
Video games first began to appear at the start of the 1970s. At the time, the music was not very elaborate. The limitations of the technology and the cost were a determining factor in how much effort could be placed into it. For example, some video game music consisted of two notes that were looped. One reason was that there was not enough space, or memory, for a "composer" to create an intricate soundtrack. If a composer did want to create involved tracks, he or she would have had to use analog equipment. However, using that type of equipment was a gamble.
"Such components were expensive and prone to breakage under heavy use making them less than ideal for use in an arcade cabinet, though in rare cases, they were used." -wikipedia
"The other alternative was to record digitally. In this way, developers were able to take the music and store in onto a computer chip." -wikipedia
Not only was this method more cost-effective but it gave home consoles the ability to incorporate music and sound.
In the early 1980s, video games begin to take their music a step farther. Home consoles could now incorporate up to eight channels of audio. This meant that synthesized sounds could be used, expanding the range of tones, and "noise channels" could create percussive notes, simulating drum tracks. What this also led to was the ability to create songs that were not so repetitive. Producers could now have verses, choruses and multiple changes for a game. This is the time when true composers entered the video game music scene.
The first of these composers to be widely noticed was Koji Kondo.
"In the 1980s, Kondo learned that a company called Nintendo was seeking musicians to compose music for its new video game system, the Famicom (Nintendo Entertainment System outside Japan). Kondo had never considered writing video game music before, but he decided to give the company a chance. He was hired in 1983." -wikipedia
At the time, the Famicom (Nintendo Entertainment System) only had four channels of audio and although he was in a confined environment, Koji was able to create identifiable themes. He did this by discovering a way to add an extra channel. With this discovery, Koji took his classical training background and applied it to the limited arena of video game music.
"He took to music at an early age, writing simple tunes for fun even as a small child. At seventeen, he decided to pursue music professionally. He undertook classical training, and he learned to play several instruments." -wikipedia
In addition, Koji is often dubbed as the “John Williams” of video games.
"John Towner Williams is one of the most widely recognized composers of film scores. As of 2006, he has received 45 Academy Award nominations, an accomplishment surpassed only by Walt Disney." -wikipedia
John has created the themes for such movies as Jurassic Park, Star Wars, Harry Potter and E.T. to name a few. Koji has shaped a legacy of his own by creating the main theme songs for the Mario Bros. and Legend of Zelda franchises. Arguably, two of the greatest games/series ever made. It is quite possible to say, even, that the success of the games were a direct result of the increase in musical quality.
In the mid 1980s, "samples" became an integral part of video game music. It allowed composers the ability to use real guitars, real bass and real drums. However, the technology still limited the quality of this new technique. Even so, samples allowed another method to be employed and that was using vocals. Composers could now create songs with lyrics. Likewise, video games could now use human voices as sound effects within the game itself. One game that made use of the sampled vocals was Street Fighter. The characters now had distinct voices giving them personality.
From this era of video game music another composer became highly recognized. His name is Nobuo Uematsu.
"Nobuo started playing the piano at the age of 12 and has never been formerly taught. By his own admission, he said he wanted to learn to play the piano because he wanted to be like Elton John." -nobuouematsu.com
After working for a radio station creating music and countless endeavors playing the keyboard in various bands, Nobuo was hired by Squaresoft in 1985. It was with them that Nobuo created his "masterpieces." While working for them he wrote the theme song for Final Fantasy IV.
His composition "theme of love" from Final Fantasy 4 was used in a Japanese piano music book intended for grade school students. -nobuouematsu.com
Later he wrote the theme for Final Fantasy VII; this game was released in 1997 and it has since become one of the most popular video games to date. Fans can instantly recognize the opening tune.
Due in part to the work of the two composers mentioned, video games now have an identity of their own in the musical world. For example, soundtracks are now eligible to win Grammy’s in certain categories.
"The National Academy of Recording Arts & Sciences (NARAS) Board of Trustees approved three categories to include music written for video games: Best Soundtrack Album for Motion Picture, Television, or Other Visual Media – Best Song for a Motion Picture, Television, or Other Visual Media – Best Instrumental Composition for Motion Picture, Television, or Other Visual Media."
Marks, Aaron. "Appendix A: The Grammy’s and Other Game Audio Awards" The Complete Guide to Game Audio (2001): 309-312
This fact lends credit to the idea that the music is being accepted more and more by popular culture. Another way that society has embraced the music is evident in that it inspires them. Everyone from bands, to DJ’s, to entire orchestras are taking this music and making it their own. The NESkimos are a "Nintendo cover band" that has re-created the original songs by Koji Kondo into rock versions. Then there are the Tokyo Philharmonic Orchestra, the Los Angeles Philharmonic Orchestra and the Czech National Symphony Orchestra that have performed concerts of video game music, past and present. One particular theme song that is popular with orchestras today is from the game Halo 2. The opening score that was created by Marty O’Donnell has such a unique hook that it is recognizable anywhere in the world. It does not matter what language or what region one is from, fans from all across the globe have latched onto it.
The game Halo 2 is about a single hero, Master Chief, and his quest to save the human race. The story is as old as time itself and the music helps to reinforce that. Marty’s use of strings, choirs and classic percussive instruments make the game feel grandiose. At times, sections of the game’s soundtrack seemed to be influenced by classical music. Then it jumps to a tribal, very primitive sound. He has even incorporated modern day music by hiring professional rock/metal guitarist Steve Vai. Marty also purposefully incorporates peaks and valleys that follow the game play. When a player is about to enter an intense battle, the music rises and simultaneously, raises the hair on one’s arm. When the storyline becomes serious and ominous, he uses the music to create a darker scene. Marty has helped to redefine how music is used.
Video game music itself has now crossed the boundaries of its own genre. Where it once was synthesized beats, sampled sounds and electronic style music, it has now delved into other musical genres. Rock bands like Incubus have written completely original material for Halo 2. The video game Madden 2007 now incorporates some of the hottest up-and-coming Hip-hop artists today. Composers not only rely on their musical skill but they branch out into the styles of rock, metal, pop and others to reach their audience. Two good examples of this practice are the games “Dance Dance Revolution” and "Guitar Hero."
In Dance Dance Revolution, also known as DDR, a player must follow the songs according to certain foot patterns that are determined by the game developer.
"The game is typically played on a dance pad with four arrow panels: left, down, up, and right. These panels are pressed using the player's feet, in response to arrows that appear on the screen in front of the player. The arrows are synchronized to the general rhythm or beat of a chosen song, and success is dependent on the player's ability to time and position his or her steps accordingly." -wikipedia
Along with following the beat/rhythm of the song, the foot patterns can expand to the song’s melodies on higher difficulties. To raise the game’s level of difficulty, DDR usually uses music that is electronic based and up-tempo. Styles like dance, hip-hop, techno and J-pop are all found in the game’s soundtrack.
For the game Guitar Hero, the concept is much the same as DDR. However, the main difference is that a player uses his or her hands. With a controller in the shape of a guitar, the player must follow certain patterns that, again, follow the rhythm of a song.
"Guitar Hero is played using the included guitar controller. In addition to the standard start and select buttons, the guitar controller has five colored "fret buttons" on its neck (green, red, yellow, blue, and orange in descending order), a "strum bar", and a whammy bar. Each song is presented on a set of five columns that scroll constantly towards the player. The five columns correspond to the five fret buttons and appropriately colored notes appear in these columns. To play a note, the player must hold the correct fret button and press the strum bar." -wikipedia
The harder the song and the higher the difficulty, the more "notes" there are. The amount of notes they correctly hit will determine their score. As far as the music, Guitar Hero mainly uses rock songs. The game re-creates songs from classic artists such as Jimi Hendrix, Black Sabbath and Joan Jett. They have also included recent artists/bands such as Pantera, Red Hot Chili Peppers and Queens of the Stone Age. Even one Bay Area local act, Drist, made it into the game.
As games progress, companies, like Microsoft, realize that consumers want more customization. These customers want the ability to add their own pictures, videos and music into the console. For example, when the Xbox (also known as the Xbox 180) came out, the system had its own hard drive. This enabled (amongst other things) the owner to upload and store their own music. One could grab their favorite CD (or their favorite hundred CD’s) and "rip" the music onto the Xbox. Where this became personalized during a video game was if the developer allowed the user to create a "play list." The user would simply hit the "play" button from the game’s interface and they instantly had their own in-game jukebox.
With their most recent console, the Xbox 360, Microsoft has incorporated even more ways for the owner to personalize their system. They can buy "skins" with different themes that can be applied to the console and through the UI (user interface); owners can buy/download different backgrounds or wallpapers. The user can also connect to their home computer (with the right software) allowing them access to their music library. This, in most cases, is higher in quantity than what one could store on the Xbox 360 itself.
Another recent trend that video game companies have used to expand the music-to-consumer relationship is by selling the soundtrack individually. Companies, like Bungie Studios, have realized that there is now a market in which these CD’s can sell. Bungie, in cooperation with Sumthing Distribution, have released the soundtracks for Halo & Halo 2. In fact, two volumes of the Halo 2 soundtrack are available. Along with the Halo scores, Sumthing Distribution has also released the soundtracks from both Hitman games, Advent Rising and Jade Empire to name a few. By releasing the soundtracks, fans are able to relive the game without having to play it. This ensures that they will remain fans of the series and the company. This, in turn, gives video game makers some security in knowing that they have a fan base.
Music is often described as universal; it speaks the language of emotions, which is something that every person can relate to. Video games have, over time, realized and utilized that fact. If a game is dramatic and/or suspenseful (Halo), the composer can create or emphasize that mood even more. If a game is light-hearted and fun (Mario Bros.), the music created will more than likely be up lifting. If a game tends to be dark and employs a fear factor, the music will relay that tension. Gone are the days of music acting as noise to fill the void. Audiences want to feel involved and enraptured by the game. Music plays just as important a part as does the game play.
As new bands emerge, a great way for them to get exposure, to potentially millions of listeners, is to get their music on video games. On the same token, fans can be introduced to newer acts by way of their favorite game. It might even be feasible to discover an unsigned band. For example, some consoles, such as the Xbox 360, have implemented a live feed camera. Soon, I imagine, we will be watching home "concerts." With new technology being invented every minute (or so it seems), video games will have to evolve; the music industry will have to evolve as well. However, if these two mediums continue to work together, they can both enjoy much more success.
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