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A Composer's Guide to Game Music (MIT Press) (The MIT Press), by Winifred Phillips
Free Download A Composer's Guide to Game Music (MIT Press) (The MIT Press), by Winifred Phillips
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Review
Although the text on the inside of the book's dust jacket explains that A Composer's Guide To Game Music offers 'indispensable guidance for musicians and composers', Phillips' book deserves a wider audience. Even with no formal music training and no real interest in video gaming, I found that there is much to enjoy. The content is well-balanced so that those who have an interest in composing music for video games and people who have a more general interest in the use of music in games, film and television can learn a lot from this book.―Reel MusicA Composer's Guide To Game Music is partly educational and partly inspirational...a great introduction to this specialist art.―Sound on SoundAn excellent guide for a musician or composer…this is a very insightful and engaging book and a very solid read especially for aspiring composers looking to break into the industry.―NY Film Music ExaminerThe core of the book is a set of chapters that delve into the actual craft of writing game music in a way that few, if any, other books have ever done… tremendously valuable to composers.―TracksoundsA Composers Guide to Game Music is hands down a must have for everyone interested in game music.―The Audio SpotlightBetween the real life experiences and the step-by-step walkthroughs of how certain things work, this is essential material for budding musicians looking for their first big break―or perhaps veterans looking for fresh inspiration.―Push SquarePhillips does not simply set out to address how to be a video game composer. Her intent is that her readers will understand what it means to actually create and compose…A Composer's Guide to Game Music is set to become a touchstone academic achievement.―Film Score MonthlyA beautifully organized, intelligently written book about music for games... Gamers as well as composers may be fascinated by her thorough analysis of what music works, and why, in various game genres... The challenges unique to game composers are discussed at length.―The Film Music SocietyI devoured the inside information... I have been inspired and informed a great deal... I will be returning to this guide frequently and keeping it close to my workstation to give me a point of reference when in need.―Game Music OnlineAward-winning game composer Winifred Phillips has written the definitive book on scoring for video games. A Composer's Guide to Game Music has been published by The MIT Press and is a thoroughly comprehensive guidebook to the concept, practice, art, and technology of providing music for this growing cinematic medium.―BuySoundtrax
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Winifred Phillips's passion and understanding of this medium comes to life on the page and is a direct result of her vast experience and accomplishment in composing for video games. This is not just compulsory bedside reading for budding games composers, but a fine achievement in itself. Bravo!―Harry Gregson-Williams, Composer of Shrek, Narnia, Kingdom of Heaven, and the Metal Gear Solid seriesAn important, deep, and rare exploration of video game music by one of the medium's smartest and most talented voices. You may not know the name Winifred Phillips but if you play games, you absolutely know―and love―her creations!―David Jaffe, Director of God of War and the Twisted Metal seriesWhen I began writing for games over 20 years ago, I wish there had been a book like this to guide me through the process, art, and business of scoring for games. Winifred Phillips's book is an excellent combination of practical techniques along with the human touch of a game composer's real-life experiences.―Michael Sweet, Artistic Director, Video Game Scoring, Berklee College of MusicThis book accurately illustrates the video game composer's task, which is to create music that perfectly complements an existing artistic vision. While the video game industry has its unique set of processes, for the aspiring composer, musicianship is the key to success. In the same manner, Winifred Phillips has excelled in this genre thanks to her musical talent.―Didier Lord, Head of Music, Ubisoft
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Product details
Series: The MIT Press
Paperback: 284 pages
Publisher: MIT Press; Reprint edition (August 11, 2017)
Language: English
ISBN-10: 0262534495
ISBN-13: 978-0262534499
Product Dimensions:
6 x 0.7 x 9 inches
Shipping Weight: 14.1 ounces (View shipping rates and policies)
Average Customer Review:
4.9 out of 5 stars
83 customer reviews
Amazon Best Sellers Rank:
#73,676 in Books (See Top 100 in Books)
I am an indie developer on a one man team creating my first action platformer as well as synthesizer nerd who's been learning music theory through trial and error in FL Studio since I was six. I know how to structure a song alright, but loops (especially dynamic ones) have had me at a total loss. I've tried internet research on the topic, as well as just studying the music of my favorite games, but I didn't really find anything satisfactory. Then I found this book and thought, "Perfect! Just what I need!" So I bought it. Now don't get me wrong here, it's a good book, great even, but there are some things you should know before buying it. 1) When the title says "A Composer's Guide" it means it. It's geared heavily towards people with classical training. There are lots of sections that you won't fully be able to understand if you can't at least read musical notation. 2) The book focuses a lot on being a composer in a world of developers, with chapters on selling your skills, communicating with a team, and even why you should make music for games at all. If you're looking to compose original music for your own games like me, you're not going to read a good chunk of the material here.I guess my final verdict is "good, but not for me."
Winifred has written an excellent book that outlines several concepts necessary to utilize in order to succeed as a modern game composer. The introductory tone of the book is analytical and scientific (which I genuinely appreciate) and it outlines in meticulous detail an overview of what to expect from the craft; as well as what may be expected of the song writer.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.
As someone who grew up with a nearly equal love for both video games and music, I have long desired to marry the two passions with a career in video game music composition. I’m entrenched in the goings-on in the games industry, and I’ve been a practicing composer for the majority of my life, but I’ve never known quite where to start when it comes to actually putting music in a game.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 is a great little book. It is well organized and educational, and really got me back into writing music for games. I haven't finished the whole book yet, but it did light a fire under me to get started composing again. I'm looking forward to reading more once I settle in after having moved.
A Composer's Guide by Winifred Philips, known for her work with the games, God of War, Little Big Planet II, and Assassin's Creed III: Liberation, is a wonderful book that manages to detail a lot of what a video game composer does without being to be general or being too technical. The guide itself is structured in a very readable way, beginning with Philips being inspired by a Tomb Raider game to write music for video games, which transitions into topics such as the place music has in video games and then further along into more specialized topics. I enjoyed how most topics were presented with examples from video games including from Philips's own works. I especially found the chapters dealing with how composers should interact with the development team and how they should conduct their business to be enlightening. Overall, it features a great balance in focus between the technical skills (explanation of looping, layering, MIDI, DAW), the Musical skills (themes, leitmotifs and ideé fixe, arrangement) and business/workplace skills (working with the devlopment team, finding work)
Phillips gives an in depth look at how writing music works for video games, the history behind video games, and other very useful material. If you are seriously considering a path and or career to writing music for video games, I'd absolutely put this book as a collection to your library. Its a great read with a lot of knowledge you should be familiar with.
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