Video Game Music Midterm
Terms in this set (20)
1st video game with sound
1st video game with continuous music, a descending four-note loop that speeds up as gameplay progresses
Included 4 AY PSGs and a DAC, allowing for high polyphony (many simultaneous musical voices)
Up N' Down
1984 (arcade + Atari 2600)
Includes both bass and treble voices, making the Atari 2600's different tuning between those voices much more apparent (compare with arcade version)
Mike Tyson's Punch-Out!
Features the NES DMC sample to play back primitive sound files of crowds
Castlevania, "Poison Mind"
Features the very common "melody + accompaniment" musical texture, although the melody is in the bass, and the accompaniment in the treble
1989 (NES) Tim Follin
Featuress Tim Follin's "ripple" technique
Metroid, "Mother Brain"
1987 (NES) Hirokazu Tanaka
"...sound without any distinctions between music and sound effects..."
Times of Lore, "Title"
1988 (C64) Martin Galway
Features an algorithmically generated "guitar" solo
1984 (C64) Peter Langston
Features a fractal-based algorithmic melody
Sonic the Hedgehog, "Boss Music"
1991 (Sega Genesis) Masato Yakamura
Features typical rock-band style scoring for the Sega Genesis
Pirates of Dark Water, "Citadel Part 2"
1994 (Sega Genesis) Tom Chase and Steve Rucker
Features FM synthesis to mock-up a brass mallet on vibraphone sound
Shadow of the Beast II, "Title"
1992 (Sega Genesis) David Whittaker
Features an FM saxophone, with double-tracking to create delay or echo effect
Final Fantasy IV (III NA), "Introduction"
1994 (SNES) Nobuo Uematsu
Wavetable synthesis allows Uematsu to mock-up more instruments from the Western-classical tradition
Super Mario World, "Overworld"
1991 (SNES) Koji Kondo
Added "hand-drums" are a form of adaptive audio, when Mario begins riding Yoshi
Legend of Zelda, A Link to the Past, "Overworld"
1991 (SNES) Koji Kondo
Wavetable synthesis allows the composer to mock-up more instruments from the Western-classical tradition
1993 (PC) Robert Prince
SB16 FM synthesis "guitar" modeling allows Prince to approximate timbre of heavy metal
One of the numerous contemporary "war music" soundtracks to borrow from Gustav Holst's Mars, from the Planets (1916)
King's Quest IV, "Title"
1998 (PC) William Goldstein
Game created to showcase the capabilities of the Roland MT-32 wavetable synthesis-based soundcard
Secret of Monkey Island 2, "Woodtick"
1991 (PC) Michael Land and Peter McConnel
Features iMuse seamless transitions
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