Von: Steffen Lepa via al discourse
Datum: Mon, 12 Jul 2021
Betreff: [ak-discourse] CFP: Intersections Between Game Music and Electronic Dance Music
/The Journal of Sound and Music in Games/*:*Call for Papers
*Intersections Between Game Music and Electronic Dance**Music//*//
/The Journal of Sound and Music in
Games/<https://online.ucpress.edu/jsmg> invites contributions to its first
special issue, in which stylistic and cultural intersections will be
explored between game music and electronic dance music.
With electronic dance music, we refer to musical styles that are produced
and developed by and for DJs and their dancefloorsat clubs, raves and
festivals (Rietveld, 2018). Game music is understood here as the soundtrack
to interactive digital video and arcade games, in which the musical outcome
exists in a dynamic relationship with the game play. Such nonlinearity may also be identified in how the dance DJ interacts with
the dancefloor, selecting a set from a range of musical recordings.
Like game music, electronic dance music internally consists of
loop-based/musemes/, encouraged by the affordances of digital audio
workstations (DAWs) that are available for personal computers (Austin,
2016).Embraced fordigitalgaming in Europe, affordable home computing also
offered access to electronic dance music production as Weinel
(2018) observes in the context of rave culture. In addition,Gallagher
(2017: 13)notes thatgrime (a genre that shares its genealogy with electronic
dance music)“has always had strong ties to gaming, from producers who cut
their compositional teeth on /Mario Paint/ (Nintendo R&D1, 1992) to MCs who
incorporate videogame references into their lyrics, album titles and
aliases.” Not only at home, but also outdoors it is possible to identify
cultural points of connection between game and dance cultures. Due to
age-related licencing parameters in many parts of the world, game arcades
are more accessible to younger participants than dance clubs; for some,
games may well offer a first encounter with electronic dance music.
In this context, we wish to investigate how game music and electronic dance
music developed not only in parallel worlds but also in tandem. The intersections between game and dance music cultures are manifold,
including homage and reference to game sounds and culture in electronic
dance music; commonalities in composition and production technologies; as
well as references to electronic dance music and its concomitant cultures in
music and dance games.
We invite proposals for research articles on game music and electronic dance
music, which will be double-blind peer-reviewed and published as a special
issue of the/Journal of Sound and Music in Games/. We also welcome proposals
for other kinds of materials, which should be discussed with the editors in
the first instance.
Themes can include:
* Influences of game music techniques on dance music production
* Relationships between game culture and electronic dance music
culture, in terms of design, sound, music techniques
* Game cultural references in electronic dance music
* Games that employ electronic dance music
* References to electronic dance music culture in game design
* Uses of electronic dance music as core game element
* Dance music, identity, and games
Submit proposals toSpecialJSMG@gmail.com
Successful authors will be invited to submit full articles(c. 7,000 words)for double-blind peer-review by 10 April 2022.
For further information, please contact the Guest Editors, Dr Melanie Fritsch and Prof Hillegonda C Rietveld, atSpecialJSMG@gmail.com
* Austin, M (2016) Sample, Cycle, Sync: The Music Sequencer and Its
Influence on Music Video Games. Austin, M. (Ed)/Music Video Games:
Performance, Politics, and Play/. New York & London: Bloomsbury. 107-124
* Gallagher, R. (2017) “All the Other Players Want to Look at My Pad”:
Grime, Gaming, and Digital Identity./GAME: The Italian Journal of
* Rietveld, H.C. (2018) Dancing in the Technoculture. Emmerson, S.
(Ed)/The Routledge Research Companion to Electronic Music: Reaching
Out with Technology/. New York & London: Routledge. 113-134
* Weinel, J. (2018)/Inner Sound: Altered States of Consciousness in
Electronic Music and Audio-Visual Media/. New York& Oxford: Oxford UP.