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My own first exposure to the term “breakdown” was with the \u003cb\u003emovie\u003c/b\u003e Beat Street Breakdown from 1984, which featured both break-dancing \u003cb\u003emusic\u003c/b\u003e and dancing. So the title is a combination of references from the mid-1980\u0026#39;s, in\u0026nbsp;..."},{"page_id":"PA73","page_number":"73","snippet_text":"... \u003cb\u003efilms\u003c/b\u003e. This combination adds levity to the action of the game and the tempo of the ragtime gives a push to the player during gameplay. With the expanded amount of channels, layering became more of a possibility in Super Mario World and\u0026nbsp;..."},{"page_id":"PA76","page_number":"76","snippet_text":"... \u003cb\u003efilms\u003c/b\u003e are able to build tension toward a known result, whereas the \u003cb\u003escore\u003c/b\u003e of Dead Space needed to build the same tension without knowing in advance what the player would do. As with many \u003cb\u003efilms\u003c/b\u003e and games of the horror genre, the sound\u0026nbsp;..."},{"page_id":"PA79","page_number":"79","snippet_text":"... \u003cb\u003eMusic\u003c/b\u003e Changes its Tune, \u003cb\u003eFilm\u003c/b\u003e Inter- national. 12, pages 4-19, http://uwaterloo.academia.edu/KarenCollins/Papers/ 198764/_From_Bits_to_Hits_Video_Games_Music_Changes_its_Tune [05/05/2012] Karen Collins (2008): Game sound: An introduction\u0026nbsp;..."},{"page_id":"PA81","page_number":"81","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e.2 Interactivity in early video game \u003cb\u003emusic\u003c/b\u003e can be likened to simple mickey - mousing \u0026quot; reactions \u0026quot; in platform games , e.g. Fast Eddie ( 1982 ) , which appears to be as paradigmatic as imaginable . Most of the clichés of cartoon \u003cb\u003efilm\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA82","page_number":"82","snippet_text":"... \u003cb\u003efilm music\u003c/b\u003e , being the one distributor of video games holding the rights of the Star Wars and Indiana Jones soundtracks . At first , only simple jingles from these soundtracks were used Indiana Jones and the Last Crusade ( 1989 ) would\u0026nbsp;..."},{"page_id":"PA85","page_number":"85","snippet_text":"... music at the party is meant to be “source music”: when Guybrush enters the upper sections of the house, the music ... \u003cb\u003efilm\u003c/b\u003e-\u003cb\u003emusic\u003c/b\u003e-like quality. Many idioms indicate Land\u0026#39;s familiarity with early silent cinema and animation movie\u0026nbsp;..."},{"page_id":"PA86","page_number":"86","snippet_text":"... music – the synthesizer sounds are obviously meant to evoke the notion of an orchestral score but there is close to ... \u003cb\u003efilm\u003c/b\u003e-\u003cb\u003emusic\u003c/b\u003e score which is reduced to the function of subtle underscoring. iMuse is thus used to make the music\u0026nbsp;..."},{"page_id":"PA87","page_number":"87","snippet_text":"... \u003cb\u003efilm music\u003c/b\u003e convention to underscore heroic acts with majestic music, e.g. a fanfare. Its semiotic and semantic potential is very similar to that of the fanfares in the X-Wing game. The main difference is that the Indiana Jones jingle is\u0026nbsp;..."},{"page_id":"PA88","page_number":"88","snippet_text":"... soundtrack to the \u003cb\u003emovie soundtrack\u003c/b\u003e and thus stresses its own interactivity, which, at the same time, is hardly noticeable to the occasional listener. 5 Semantic clichés derived from \u003cb\u003efilm music\u003c/b\u003e The case of X-Wing showed that the\u0026nbsp;..."},{"page_id":"PA90","page_number":"90","snippet_text":"... music. Ted is classified as a very outdated individual in every kind of surrounding, so 200-year-old funk music is meant ... \u003cb\u003efilm music\u003c/b\u003e to the computer screen, citing idioms of film noir and Mexican Western genres. The allusions to\u0026nbsp;..."},{"page_id":"PA91","page_number":"91","snippet_text":"... music and \u003cb\u003efilm music\u003c/b\u003e closer to one another . 7 Bibliography Collins , Karen ( ed . ) ( 2008 ) : From Pac - Man to Pop Music : Interactive Audio in Games and New Media . Ashgate : Farnham Collins , Karen ( 2008 ) : Game Sound . An\u0026nbsp;..."},{"page_id":"PA93","page_number":"93","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e featured in video games have become more and more sophisticated. The jingles from early arcade games underscoring triumph and loss have turned into ... \u003cb\u003efilm\u003c/b\u003e . In video games , the Scoring Play – Soundtracks and Video Game Genres."},{"page_id":"PA94","page_number":"94","snippet_text":"... \u003cb\u003esoundtrack\u003c/b\u003e is more difficult , since the arrangement of the \u003cb\u003escore\u003c/b\u003e itself can depend upon the behaviour of the ... \u003cb\u003efilm\u003c/b\u003e theorist Jean Mitry believed to be essential to the experience and artistic qualities of \u003cb\u003efilm\u003c/b\u003e . He defined\u0026nbsp;..."},{"page_id":"PA95","page_number":"95","snippet_text":"... \u003cb\u003efilm\u003c/b\u003e. Video games continue this tradition and even take it one step further. Now the feeling of the cinematic rhythm is not only suggested by the editing and the mise- en-scène of the \u003cb\u003efilm\u003c/b\u003e, but also by the input of the gamer. The\u0026nbsp;..."},{"page_id":"PA96","page_number":"96","snippet_text":"... \u003cb\u003efilms\u003c/b\u003e . Its equivalent in video games would be the genre of rhythm games in which adaptive and interactive audio are combined within the framework of simulated musical performance . In one variation of rhythm games , the \u003cb\u003escore\u003c/b\u003e is played\u0026nbsp;..."},{"page_id":"PA97","page_number":"97","snippet_text":"... \u003cb\u003efilm\u003c/b\u003e Indiana Jones and the Temple of Doom released by Atari in 1985. In direct contrast to the dark atmosphere of the second \u003cb\u003efilm\u003c/b\u003e in the Indiana Jones series , the video game seems to be closer to Roadrunner cartoons than to the \u003cb\u003emovie\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA98","page_number":"98","snippet_text":"... \u003cb\u003efilm\u003c/b\u003e history left its mark on the termi- nology of soundtracks early on . \u003cb\u003eFilm\u003c/b\u003e theorist and historian David Bordwell explains how the hero of classic Disney \u003cb\u003efilms\u003c/b\u003e became the inspiration for a scoring technique that still can be found in\u0026nbsp;..."},{"page_id":"PA99","page_number":"99","snippet_text":"... \u003cb\u003efilm\u003c/b\u003e conventions, the cartoonlike character of the locations and events is underscored by the \u003cb\u003emusic\u003c/b\u003e. For example, the visit to a surrealist museum featuring Salvador Dalí\u0026#39;s melting clocks and, in a more camp than surrealist tradition\u0026nbsp;..."},{"page_id":"PA100","page_number":"100","snippet_text":"... \u003cb\u003efilms\u003c/b\u003e for several video games based upon the franchises. The adventure game Indiana Jones and the Fate of Atlantis (1992) presented a self-contained fourth part to the popular \u003cb\u003efilm\u003c/b\u003e series sixteen years before the actual \u003cb\u003efilm\u003c/b\u003e sequel\u0026nbsp;..."},{"page_id":"PA101","page_number":"101","snippet_text":"... \u003cb\u003esoundtrack\u003c/b\u003e provides one of the closest links to the \u003cb\u003efilms\u003c/b\u003e with the gameplay being not really related to the ... \u003cb\u003efilm\u003c/b\u003e. In comparison to other transmedia franchises such as James Bond or Ghostbusters, the \u003cb\u003escore\u003c/b\u003e in many Star Wars\u0026nbsp;..."},{"page_id":"PA102","page_number":"102","snippet_text":"... \u003cb\u003efilms\u003c/b\u003e , the \u003cb\u003esoundtrack\u003c/b\u003e transports the emotional journey of the main character , but contrary to the former , the protagonist\u0026#39;s fate is decided by interactions according to the game rules . The \u003cb\u003esoundtrack\u003c/b\u003e cues which depend on the user\u0026#39;s\u0026nbsp;..."},{"page_id":"PA103","page_number":"103","snippet_text":"... \u003cb\u003esoundtrack\u003c/b\u003e for this mocking of RPG heroics. In the tradition of \u003cb\u003emovie\u003c/b\u003e parodies such as the \u003cb\u003efilms\u003c/b\u003e by Monty Python, Mel Brooks or Zucker-Abrahams-Zucker, it foils the conventions of the genre being mocked. A strategy for the ironical use of\u0026nbsp;..."},{"page_id":"PA104","page_number":"104","snippet_text":"... score becomes quite obvious since many of the player\u0026#39;s moves and the changing conditions of the game are accompanied by pre-eminent soundtrack tunes. In many aspects, this technique of scoring can be compared to classical \u003cb\u003efilm\u003c/b\u003e-\u003cb\u003escore\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA105","page_number":"105","snippet_text":"... \u003cb\u003eFilm\u003c/b\u003e Art – An Introduction. 8th edition, New York: McGraw-Hill Publishing Collins, Karen (2008): Game Sound. Cambridge: MIT Press Juul, Jesper (2009): A Casual Revolution. Cambridge: MIT Press Mitry, Jean (1997): The Aesthetics and\u0026nbsp;..."},{"page_id":"PA106","page_number":"106","snippet_text":"... film (2006). It is now common- place that \u003cb\u003efilm music\u003c/b\u003e/film sound theory can only be partially projected onto the examination of games. Because of that, a wide array of literature about the purpose of music and sound in games has been\u0026nbsp;..."},{"page_id":"PA108","page_number":"108","snippet_text":"... \u003cb\u003efilms\u003c/b\u003e now having been made. The success of the series is due to a fine balance between horror, puzzle solving and ... \u003cb\u003efilm\u003c/b\u003e and will not be discussed further in the following text (for additional information see web link 2). All the\u0026nbsp;..."},{"page_id":"PA109","page_number":"109","snippet_text":"... \u003cb\u003efilm\u003c/b\u003e has extraordinary strong female characters ( Rose , the girl and the police officer on the one hand , and Christabella , the leader of the religious cult ... \u003cb\u003emusic\u003c/b\u003e from Musical Transformations from Game to \u003cb\u003eFilm\u003c/b\u003e in Silent Hill 109."},{"page_id":"PA110","page_number":"110","snippet_text":"... \u003cb\u003efilm\u003c/b\u003e is a sudden switch from the abandoned , but seemingly normal day scenes in Silent Hill ( only made sinister by ... \u003cb\u003emusic\u003c/b\u003e will be introduced and an attempt will be made to characterize the style , tone and genres of the \u003cb\u003emusic\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA111","page_number":"111","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e is rock/pop tunes heard at the beginning and at the end of the game, serving as a kind of credit \u003cb\u003emusic\u003c/b\u003e ... \u003cb\u003efilm\u003c/b\u003e was made after the first four games had been released. Director Christophe Gans wanted to be close to the look\u0026nbsp;..."},{"page_id":"PA112","page_number":"112","snippet_text":"... \u003cb\u003efilm\u003c/b\u003e.10 The musical style slightly changed with the new arrangement, the first (atmospheric) and fourth (industrial) ... \u003cb\u003emusic\u003c/b\u003e during an early scene at the gas station and, very prominently featured, a snippet from “Ring of Fire” by\u0026nbsp;..."},{"page_id":"PA113","page_number":"113","snippet_text":"... \u003cb\u003efilm music\u003c/b\u003e: the descriptive function (consolidation, supporting the images), the affective (generating a certain emotional effect for the audience), the structural (following the dramaturgy of the narration), the expository (enhancement\u0026nbsp;..."},{"page_id":"PA114","page_number":"114","snippet_text":"... \u003cb\u003efilm music\u003c/b\u003e is the subjectivity of reception and the uncertainty of the musical inventory . While films normally have a clear structure , an exposition , a middle , and a climax ( with cues especially composed for the scenes ) , there\u0026nbsp;..."},{"page_id":"PA115","page_number":"115","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e with a memory-guiding func- tion to differentiate characters and a clear causal A-to-B structure – the dynamic aspect of user interaction is absent here (Whalen 2004: 3). After this meeting, James ... \u003cb\u003eFilm\u003c/b\u003e in Silent Hill 115."},{"page_id":"PA116","page_number":"116","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e can be heard: it is a fast, uplifting piece of electronic \u003cb\u003emusic\u003c/b\u003e (mixing the first and second styles as ... \u003cb\u003efilm\u003c/b\u003e will now be examined and the function of sound/\u003cb\u003emusic\u003c/b\u003e will be elaborated concerning their role in these examples\u0026nbsp;..."},{"page_id":"PA121","page_number":"121","snippet_text":"... \u003cb\u003eMusic\u003c/b\u003e. In: Game Studies: The International Journal of Computer Game Research. 4/1 (2004). http://www. gamestudies. org/0401/whalen [05/05/2012] Other web resources 1) http://www.silenthillmemories.net/\u003cb\u003emusic\u003c/b\u003e ... \u003cb\u003eFilm\u003c/b\u003e in Silent Hill 121."},{"page_id":"PA122","page_number":"122","snippet_text":"... Soundtrack Composer: Akira Yamaoka Publisher: Konami Catalog number: KMCA-120 (JP), KOE-CDS-100 (EU) Release date: 2001.10.03 (JP), 2001 (EU) ... \u003cb\u003efilm score\u003c/b\u003e) List of music from Silent Hill 1-4 soundtracks used in 122 Florian Mundhenke."},{"page_id":"PA123","page_number":"123","snippet_text":"Perspectives on a Popular Alliance Peter Moormann. List of \u003cb\u003emusic\u003c/b\u003e from Silent Hill 1-4 soundtracks used in the \u003cb\u003efilm\u003c/b\u003e ( the titles indicated refer to the \u003cb\u003esoundtrack\u003c/b\u003e title names ; from web link 1 ) SH1 OST - Silent Hill ( opening titles )\u0026nbsp;..."},{"page_id":"PA125","page_number":"125","snippet_text":"... \u003cb\u003efilm\u003c/b\u003e, one can observe a strong tendency towards the amalgamation of the genres of science fiction, fantasy and horror. Obviously the same is true for video games, encouraging gamer communities to come up with designations such as “sci\u0026nbsp;..."},{"page_id":"PA128","page_number":"128","snippet_text":"... \u003cb\u003efilms\u003c/b\u003e such as Event Horizon (1997), Ghosts of Mars (2001) and Sunshine (2007), and in the still to be discussed video game series Dead Space. 5 Such equivalences are either anchored in the visual style of the individual game or are\u0026nbsp;..."},{"page_id":"PA131","page_number":"131","snippet_text":"... music ? Is there a transfer of practices / conventions from \u003cb\u003efilm music\u003c/b\u003e ? Music as a means of characterisation ( e.g. through leitmotifs ) ? Style or character in relation to function : Are there differences or similarities between music\u0026nbsp;..."},{"page_id":"PA138","page_number":"138","snippet_text":"... \u003cb\u003efilm music\u003c/b\u003e. Almost every time a monster appears, one is presented with a shrill string sforzato. When Clarke becomes involved in hand-to-hand combat, the strings perform swarms of glissandi whose constant ups and downs create an\u0026nbsp;..."},{"page_id":"PA139","page_number":"139","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e can be perceived as a separate entity, Dead Space displays a high degree of blend between different ... \u003cb\u003efilms\u003c/b\u003e. In The Empire Strikes Back (1980), for example, suchlike speech sounds form the basis for the adamant chatter\u0026nbsp;..."},{"page_id":"PA141","page_number":"141","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e in Tykwer\u0026#39;s \u003cb\u003efilms\u003c/b\u003e, but, in addition, have achieved, as a DJ team, a certain reputation within the international club scene. About a year after the release of The Matrix Revolutions, Hessian Broadcasting commissioned a multi-part\u0026nbsp;..."},{"page_id":"PA142","page_number":"142","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e with futuristic contents is certainly one of the most prominent science fiction shibboleths13 . Significantly , the otherwise very typically- directed cantina scene in the 1990 \u003cb\u003efilm\u003c/b\u003e Total Recall differentiates itself from the 13\u0026nbsp;..."},{"page_id":"PA143","page_number":"143","snippet_text":"... \u003cb\u003efilms\u003c/b\u003e of different complexion , horror \u003cb\u003efilms\u003c/b\u003e , in particular , have produced a sound language in which , analogous to the narrative dismantling of intact worlds , the ominous is only capable of being expressed by the distortion of well\u0026nbsp;..."},{"page_id":"PA145","page_number":"145","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e comprised of a single texture of aerophone synthesizer sounds. It runs, virtually unaltered, throughout the ... \u003cb\u003eFilm\u003c/b\u003e. Frankfurt a. M.: Suhrkamp Chan, Norman (2007): A Critical Analysis of Modern Day Video Game Audio. Bachelor\u0026nbsp;..."},{"page_id":"PA146","page_number":"146","snippet_text":"... \u003cb\u003eFilms\u003c/b\u003e . Marburg : Schüren Walser , Robert ( 1993 ) : Running with the Devil : Power , Gender , and Madness in Heavy Metal \u003cb\u003eMusic\u003c/b\u003e . Hanover : Wesleyan University Press Will Wright and Brian Eno Play with Time ( 2006 ) . http://fora.tv\u0026nbsp;..."},{"page_id":"PA147","page_number":"147","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e has the ability to do so might be considered the master motivation for being used as a supporting means in art forms such as opera, \u003cb\u003efilm\u003c/b\u003e and video game. By the controlled application of \u003cb\u003emusic\u003c/b\u003e in genres of mixed media, the producer\u0026nbsp;..."},{"page_id":"PA151","page_number":"151","snippet_text":"... music in offices and shops. Yet, while in these phe- nomena the listener is tied to his role as a relatively passive consumer, which to some degree is also the case with \u003cb\u003efilm music\u003c/b\u003e, game music, however, accompanies and stimulates\u0026nbsp;..."},{"page_id":"PA153","page_number":"153","snippet_text":"... \u003cb\u003efilms\u003c/b\u003e and aliens from science fiction thrillers. In both games, the \u003cb\u003emusic\u003c/b\u003e is complemented by the addition of dark ambient sounds such as pedals reminiscent of double basses in an orchestral \u003cb\u003escore\u003c/b\u003e or by deep organ registers. Consequently\u0026nbsp;..."},{"page_id":"PA154","page_number":"154","snippet_text":"... films and horror - like FPS is that the \u003cb\u003efilm music\u003c/b\u003e will , in most cases , underline the scary events on the screen ( and thus exchanges the role of a chiefly atmospheric component with a more narrative , representational , less play\u0026nbsp;..."},{"page_id":"PA157","page_number":"157","snippet_text":"... \u003cb\u003eMusic\u003c/b\u003e in \u003cb\u003eFilm\u003c/b\u003e and Visual Media: A Critical Overview. London/New York: Continuum Hügel, Hans-Otto (ed.) (2003): Handbuch Populäre Kultur. Begriffe, Theorien, Diskus- sionen. Stuttgart: Metzler Huizinga, Johan (1987): Homo Ludens. Vom\u0026nbsp;..."},{"page_id":"PA159","page_number":"159","snippet_text":"... music”, the variable of playing “with” music – instead of the common activity of performing some kind of tune ... \u003cb\u003efilm music\u003c/b\u003e is a major source of influence, especially in underlining sequences corresponding to emotional demands\u0026nbsp;..."},{"page_id":"PA161","page_number":"161","snippet_text":"... music, namely in the military context of supporting the moral status of troops, coordinating moves and ... \u003cb\u003efilm music\u003c/b\u003e concerts, where the creation of an aural sphere is removed from the display of fictional characters and\u0026nbsp;..."},{"page_id":"PA162","page_number":"162","snippet_text":"... music concerts took place in Japan as an inde- pendent concert series between 1991 and 1996). The most striking ... \u003cb\u003efilm music\u003c/b\u003e has started to fill very successfully during the last two decades. The set of character pieces from\u0026nbsp;..."},{"page_id":"PA163","page_number":"163","snippet_text":"... music\u0026#39;s quality and their own musical knowledge.1 Another characteristic of original game music – in its main aspects similar to \u003cb\u003efilm music\u003c/b\u003e – is that the storytelling leaves only little space for the individualistic handwriting of the\u0026nbsp;..."},{"page_id":"PA164","page_number":"164","snippet_text":"... music concerts, the motives of the different participants remain, to a large extent, unclear. The thesis that game music (like \u003cb\u003efilm music\u003c/b\u003e a few years earlier) fills a gap in the 20th century orchestral repertoire has different\u0026nbsp;..."},{"page_id":"PA174","page_number":"174","snippet_text":"... \u003cb\u003emovie\u003c/b\u003e about the New York chipmusic scene Reformat the Planet11 (hereafter referred to as RTP) was therefore used as a main source. 3 Roots and Definitions From the beginning, discussions about terminology have belonged to the main\u0026nbsp;..."},{"page_id":"PA178","page_number":"178","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e due to his rather intuitive user interface and the implemented tools for live performances.22 What conclusions can now be drawn from this excursive passage through the early history of ... \u003cb\u003efilm\u003c/b\u003e though , it 178 Matthias Pasdzierny."},{"page_id":"PA180","page_number":"180","snippet_text":"... \u003cb\u003emovie\u003c/b\u003e itself , by canonization and mystification , develops a particular kind of historio- graphy of chipmusic , the huge amount of interview material ( supplemented by the bonus DVD ) as well as the \u003cb\u003efilm\u003c/b\u003e clips of the live performances\u0026nbsp;..."},{"page_id":"PA194","page_number":"194","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e production (Collins 2008a: 87). Paul (2010) reports that the average wages for in-house audio jobs start at ... \u003cb\u003efilm\u003c/b\u003e or advertising \u003cb\u003emusic\u003c/b\u003e).13 Depending on the project, different budgets as well as different team sizes are\u0026nbsp;..."},{"page_id":"PA201","page_number":"201","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e industry are also competitors on the entertainment market : while playing games , people do not con- sume ... \u003cb\u003efilm\u003c/b\u003e analysis ( ibid : 93 ) . 29 A list of the titles which are played on the several in - game radio stations can\u0026nbsp;..."},{"page_id":"PA203","page_number":"203","snippet_text":"... \u003cb\u003efilm soundtrack\u003c/b\u003e is also adapted in most cases ( see e.g. the various Star Wars games since 1983 ) . 36 Concerning the role of music in movie - related games , see e.g. Boyd 2003 . 37 Figures refer to sales per platform . In 2008 there\u0026nbsp;..."},{"page_id":"PA208","page_number":"208","snippet_text":"... music remixes called Sound of Games Vol . 1 , which will be followed soon , as the name suggests , by a successor . \u0026quot; I think it won\u0026#39;t last very long until game music has the same status as \u003cb\u003efilm music\u003c/b\u003e . Just as people buy \u003cb\u003efilm music\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA212","page_number":"212","snippet_text":"... \u003cb\u003eMusic\u003c/b\u003e will mehr Geld von “Guitar Hero”. http://www. heise.de/newsticker/meldung/Warner-\u003cb\u003eMusic\u003c/b\u003e-will-mehr-Geld-von-Guitar-Hero- 194298.html [05/05/2012] Boyd, Andrew (2003): When worlds collide: sound and \u003cb\u003emusic\u003c/b\u003e in \u003cb\u003efilm\u003c/b\u003e and games. http\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=JYfROhvXMPAC\u0026pg=PA212\u0026vq=film+music"},{"page_id":"PA215","page_number":"215","snippet_text":"... music and gaming deal with Dream Theater\u0026#39;s keyboardist Jordan Rudess , guitar virtuoso and composer Steve Vai , and Metallica\u0026#39;s collaboration with Michael Kamen as a concept of \u003cb\u003efilm music\u003c/b\u003e in concert . Marcus Erbe is a Research Associate\u0026nbsp;..."},{"page_id":"PA216","page_number":"216","snippet_text":"... \u003cb\u003emusic\u003c/b\u003e in \u003cb\u003efilms\u003c/b\u003e and in other media. His doctoral thesis regard- ing the relationship between Steven Spielberg and his composer John Williams was published in 2010 after being previously awarded the Johannes Gutenberg Prize in 2008\u0026nbsp;..."},{"page_id":"PA218","page_number":"218","snippet_text":"... film studies and musicology at the University of Kiel where he is presently working as a university teacher. His research interests include \u003cb\u003efilm music\u003c/b\u003e (especially jazz), surrealism and complex narrative cinema. He is currently writing\u0026nbsp;..."},{"page_id":"PA219","page_number":"219","snippet_text":"... \u003cb\u003emovie\u003c/b\u003e) Sony Computer Entertainment Europe Script Creation Utility for Maniac Mansion Sound Interface Device Super Nintendo Entertainment System P. Moormann (ed.), \u003cb\u003eMusic\u003c/b\u003e and Game, DOI 10.1007/978-3-531-18913-0, © Springer Fachmedien\u0026nbsp;..."}],"search_query_escaped":"film music"},{});</script></div></div></div><script>(function() {var href = window.location.href;if (href.indexOf('?') !== -1) {var parameters = href.split('?')[1].split('&');for (var i = 0; i < parameters.length; i++) {var param = parameters[i].split('=');if (param[0] == 'focus') {var elem = document.getElementById(param[1]);if (elem) {elem.focus();}}}}})();</script>