By Winifred Phillips
Winner of the worldwide track Award Gold Medal for a superb publication within the box of music · Winner of the nationwide Indie Excellence publication Award · Winner of the Nonfiction e-book Award (Gold Winner) · Winner of the once a year online game song Award (Best Publication)
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Extra resources for A Composer's Guide to Game Music (MIT Press)
The happiest and most successful among us are those who derive pleasure from the pandemonium. Asset #3: A desire to be on a creative frontier Video games were born in 1958 when a scientist programmed an oscilloscope to play an interactive table tennis game (Kent 2001, 18). In contrast, films have a history that can trace its origin way back to 1832, with the invention of the first device capable of displaying moving pictures (Dirk 2012). The video game industry is 126 years younger than the film industry.
In these circumstances, private instruction can be an ideal solution to an otherwise insoluble problem. Here is an example: I was a teenager when I got my first keyboard. I舗d already enjoyed the benefits of a good education in both piano and voice, and was beginning to pursue a traditional education in music composition. None of this helped me figure out what to make of this new keyboard device. It was a beautiful thing with a silky black finish, and had been displayed in a place of honor at my local musical instrument store.
Throughout history, as new instruments were invented, compositions began to appear for them. As existing instruments were refined, their capabilities expanded and enhanced, so too did composers adjust their creative output to take advantage of the potential that these changes afforded. The main difference today is the speed with which these changes are introduced, refined, and implemented in modern music. I舗m very grateful to have had a good initial instructor with the expertise of both a composer and a technician.