2022
Tuuri, Kai; Koskela, Oskari; Vahlo, Jukka
Pelimusiikin käyttötavat ja funktiot suomalaisten arjessa Journal Article
In: Musiikki, vol. 52, iss. 4, 2022, ISSN: 2669-8625.
Abstract | Links | Tags: Game music, Game music memories, Kokemukset, Kuuntelutottumukset, Muistot, Music preferences, Music psychology, Musiikkipsykologia, Pelimusiikki, Tunteet
@article{Tuuri2022c,
title = {Pelimusiikin käyttötavat ja funktiot suomalaisten arjessa},
author = {Kai Tuuri and Oskari Koskela and Jukka Vahlo},
url = {https://musiikki.journal.fi/article/view/125641
https://musiikki.journal.fi/article/view/125641/75692},
doi = {https://doi.org/10.51816/musiikki.125641},
issn = {2669-8625},
year = {2022},
date = {2022-12-21},
urldate = {2022-12-21},
issuetitle = {Pelimusiikin tutkimus Suomessa},
journal = {Musiikki},
volume = {52},
issue = {4},
publisher = {Suomen musiikkitieteellinen seura},
abstract = {The uses and functions of game music in everyday life
The premise of this article is the idea that games and their music do not only relate to playing, but are also part of people’s musical practices outside of the actual gameplay situation. However, so far very little research has been done on the meanings of game music outside of gaming. In this study, we aim for a broader understanding of people’s relationship with game music by examining how game music is used outside of the context of gaming. The empirical analysis of the article is based on two datasets collected in Finland. The primary material consists of written stories (N=183) about personally meaningful game music memories. In addition to this, we use survey data (N=785) concerning people’s activities with their favorite game music outside of the game. In the study, we investigated (1) how varied and common the activities of using game music are, (2) what different types of game music use can be discerned, and (3) what psychological functions of game music are disclosed in the personal stories.
According to both datasets, musical practices with game music in people’s everyday life were common. The ways of using game music were also diverse. In general, digital games appear to be a viable resource for engaging in musical practices and acquiring musical experiences. Through cluster analysis, three different types of game music use were outlined from the survey answers: performing/reproducing, reminiscing and appreciating the game experience, which refer to preferences for interacting with game music. Regarding the functions of music, the results imply that the functions of music documented in music psychology literature (mood management, aesthetic pleasure, self-enhancement, memory connection, social bonding) are well suited for analyzing the personal meanings of game music. In all, from the results, it can be established that the aesthetic value of game music for people, at least to some extent, seems to be conditioned by the gameplay experience, even if the music is separated from gaming.},
keywords = {Game music, Game music memories, Kokemukset, Kuuntelutottumukset, Muistot, Music preferences, Music psychology, Musiikkipsykologia, Pelimusiikki, Tunteet},
pubstate = {published},
tppubtype = {article}
}
The uses and functions of game music in everyday life
The premise of this article is the idea that games and their music do not only relate to playing, but are also part of people’s musical practices outside of the actual gameplay situation. However, so far very little research has been done on the meanings of game music outside of gaming. In this study, we aim for a broader understanding of people’s relationship with game music by examining how game music is used outside of the context of gaming. The empirical analysis of the article is based on two datasets collected in Finland. The primary material consists of written stories (N=183) about personally meaningful game music memories. In addition to this, we use survey data (N=785) concerning people’s activities with their favorite game music outside of the game. In the study, we investigated (1) how varied and common the activities of using game music are, (2) what different types of game music use can be discerned, and (3) what psychological functions of game music are disclosed in the personal stories.
According to both datasets, musical practices with game music in people’s everyday life were common. The ways of using game music were also diverse. In general, digital games appear to be a viable resource for engaging in musical practices and acquiring musical experiences. Through cluster analysis, three different types of game music use were outlined from the survey answers: performing/reproducing, reminiscing and appreciating the game experience, which refer to preferences for interacting with game music. Regarding the functions of music, the results imply that the functions of music documented in music psychology literature (mood management, aesthetic pleasure, self-enhancement, memory connection, social bonding) are well suited for analyzing the personal meanings of game music. In all, from the results, it can be established that the aesthetic value of game music for people, at least to some extent, seems to be conditioned by the gameplay experience, even if the music is separated from gaming.
The premise of this article is the idea that games and their music do not only relate to playing, but are also part of people’s musical practices outside of the actual gameplay situation. However, so far very little research has been done on the meanings of game music outside of gaming. In this study, we aim for a broader understanding of people’s relationship with game music by examining how game music is used outside of the context of gaming. The empirical analysis of the article is based on two datasets collected in Finland. The primary material consists of written stories (N=183) about personally meaningful game music memories. In addition to this, we use survey data (N=785) concerning people’s activities with their favorite game music outside of the game. In the study, we investigated (1) how varied and common the activities of using game music are, (2) what different types of game music use can be discerned, and (3) what psychological functions of game music are disclosed in the personal stories.
According to both datasets, musical practices with game music in people’s everyday life were common. The ways of using game music were also diverse. In general, digital games appear to be a viable resource for engaging in musical practices and acquiring musical experiences. Through cluster analysis, three different types of game music use were outlined from the survey answers: performing/reproducing, reminiscing and appreciating the game experience, which refer to preferences for interacting with game music. Regarding the functions of music, the results imply that the functions of music documented in music psychology literature (mood management, aesthetic pleasure, self-enhancement, memory connection, social bonding) are well suited for analyzing the personal meanings of game music. In all, from the results, it can be established that the aesthetic value of game music for people, at least to some extent, seems to be conditioned by the gameplay experience, even if the music is separated from gaming.
2021
Vahlo, Jukka; Koskela, Oskari; Tuuri, Kai; Tissari, Heli
Linkages Between Gameplay Preferences and Fondness for Game Music Proceedings Article
In: Baalsrud Hauge, Jannicke; Cardoso, Jorge C. S.; Roque, Licínio; Gonzalez-Calero, Pedro A. (Ed.): Entertainment Computing – ICEC 2021: 20th IFIP TC 14 International Conference, ICEC 2021, pp. 304–318, Springer, 2021, ISBN: 978-3-030-89393-4.
Abstract | Links | Tags: Factor analysis, Game music, Music preferences, Player preferences, Survey
@inproceedings{Vahlo2021,
title = {Linkages Between Gameplay Preferences and Fondness for Game Music},
author = {Jukka Vahlo and Oskari Koskela and Kai Tuuri and Heli Tissari},
editor = {Baalsrud Hauge, Jannicke and Jorge C. S. Cardoso and Licínio Roque and Pedro A. Gonzalez-Calero },
url = {http://urn.fi/URN:NBN:fi:jyu-202111155662},
doi = {https://doi.org/10.1007/978-3-030-89394-1_23},
isbn = {978-3-030-89393-4},
year = {2021},
date = {2021-10-22},
urldate = {2021-10-22},
booktitle = {Entertainment Computing – ICEC 2021: 20th IFIP TC 14 International Conference, ICEC 2021},
pages = {304–318},
publisher = {Springer},
series = {Lecture Notes in Computer Science},
abstract = {In this paper we explore connections between players’ preferences in gameplay and their desire to listen to game music. Music always takes place in cultural contexts and the activity of music listening is likewise entangled with versatile cultural practices. This is arguably evident in the case of game music since the primary context of encountering it is the active and participatory experience of gameplay. By analyzing survey data (N = 403) collected from the UK, we investigate how contextual preferences in gameplay activities predict fondness for game music. It was found that player preference for Aggression and Exploration are two precedents for liking game music. These findings indicate that a better understanding of the extra-musical qualities of game music is crucial for making sense of its overall attractiveness and meaningfulness.},
keywords = {Factor analysis, Game music, Music preferences, Player preferences, Survey},
pubstate = {published},
tppubtype = {inproceedings}
}
In this paper we explore connections between players’ preferences in gameplay and their desire to listen to game music. Music always takes place in cultural contexts and the activity of music listening is likewise entangled with versatile cultural practices. This is arguably evident in the case of game music since the primary context of encountering it is the active and participatory experience of gameplay. By analyzing survey data (N = 403) collected from the UK, we investigate how contextual preferences in gameplay activities predict fondness for game music. It was found that player preference for Aggression and Exploration are two precedents for liking game music. These findings indicate that a better understanding of the extra-musical qualities of game music is crucial for making sense of its overall attractiveness and meaningfulness.