2022
Koskela, Oskari; Tissari, Heli; Tuuri, Kai
Käsitemetaforan näkökulma pelimusiikin henkilökohtaiseen merkityksellisyyteen Journal Article
In: Musiikki, vol. 52, iss. 4, 2022, ISSN: 2669-8625.
Abstract | Links | Tags: Conceptual metaphor, Game music, Game music memories, Käsitemetafora, Kokemukset, Merkitys (tärkeys), Muistot, Musiikki, Musiikkifilosofia, Pelimusiikki
@article{Koskela2022,
title = {Käsitemetaforan näkökulma pelimusiikin henkilökohtaiseen merkityksellisyyteen},
author = {Oskari Koskela and Heli Tissari and Kai Tuuri},
url = {https://musiikki.journal.fi/article/view/125643
https://musiikki.journal.fi/article/view/125643/75694},
doi = {https://doi.org/10.51816/musiikki.125643},
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 perspective of conceptual metaphor on personal meaningfulness of game music
The use of metaphors is prevalent when talking about music in everyday life as well as in more professional contexts. As such, the role of metaphors in describing and understanding music has been a topic for philosophical discussions and more recently also for empirical research. While most of the focus has traditionally been on the meaning of music, in this article we consider metaphors as related to the personal meaningfulness of music. More specifically, we investigate metaphoric expressions in personal narratives of fond game music memories, aiming to understand what the metaphors tell about the relationship between music and the listener. Following the theory of conceptual metaphor, we treat metaphors not as merely rhetorical figures of speech but as a pervasive feature of human meaning-making, that is, as related to the way we understand abstract things by conceptually mapping our understanding of concrete things.
Our data is a set of 183 Finnish stories about personally meaningful memories with game music. We analysed the data in several steps, starting with the identification of metaphoric expressions and their source domains, followed by reducing them to their image schematic structures. Finally, we used the image schematic structures to organise the metaphors into 8 wider categories: Agency, Force, Spatial relations, Transfer, Mediator, Linkage, Tangible thing/object and Sensation. Besides presenting these categories as outlining different aspects of how the listeners’ conceptualise the personal meaningfulness of game music, we discuss the theory of conceptual metaphor as a viable approach for understanding musical experiences more generally.},
keywords = {Conceptual metaphor, Game music, Game music memories, Käsitemetafora, Kokemukset, Merkitys (tärkeys), Muistot, Musiikki, Musiikkifilosofia, Pelimusiikki},
pubstate = {published},
tppubtype = {article}
}
The perspective of conceptual metaphor on personal meaningfulness of game music
The use of metaphors is prevalent when talking about music in everyday life as well as in more professional contexts. As such, the role of metaphors in describing and understanding music has been a topic for philosophical discussions and more recently also for empirical research. While most of the focus has traditionally been on the meaning of music, in this article we consider metaphors as related to the personal meaningfulness of music. More specifically, we investigate metaphoric expressions in personal narratives of fond game music memories, aiming to understand what the metaphors tell about the relationship between music and the listener. Following the theory of conceptual metaphor, we treat metaphors not as merely rhetorical figures of speech but as a pervasive feature of human meaning-making, that is, as related to the way we understand abstract things by conceptually mapping our understanding of concrete things.
Our data is a set of 183 Finnish stories about personally meaningful memories with game music. We analysed the data in several steps, starting with the identification of metaphoric expressions and their source domains, followed by reducing them to their image schematic structures. Finally, we used the image schematic structures to organise the metaphors into 8 wider categories: Agency, Force, Spatial relations, Transfer, Mediator, Linkage, Tangible thing/object and Sensation. Besides presenting these categories as outlining different aspects of how the listeners’ conceptualise the personal meaningfulness of game music, we discuss the theory of conceptual metaphor as a viable approach for understanding musical experiences more generally.
The use of metaphors is prevalent when talking about music in everyday life as well as in more professional contexts. As such, the role of metaphors in describing and understanding music has been a topic for philosophical discussions and more recently also for empirical research. While most of the focus has traditionally been on the meaning of music, in this article we consider metaphors as related to the personal meaningfulness of music. More specifically, we investigate metaphoric expressions in personal narratives of fond game music memories, aiming to understand what the metaphors tell about the relationship between music and the listener. Following the theory of conceptual metaphor, we treat metaphors not as merely rhetorical figures of speech but as a pervasive feature of human meaning-making, that is, as related to the way we understand abstract things by conceptually mapping our understanding of concrete things.
Our data is a set of 183 Finnish stories about personally meaningful memories with game music. We analysed the data in several steps, starting with the identification of metaphoric expressions and their source domains, followed by reducing them to their image schematic structures. Finally, we used the image schematic structures to organise the metaphors into 8 wider categories: Agency, Force, Spatial relations, Transfer, Mediator, Linkage, Tangible thing/object and Sensation. Besides presenting these categories as outlining different aspects of how the listeners’ conceptualise the personal meaningfulness of game music, we discuss the theory of conceptual metaphor as a viable approach for understanding musical experiences more generally.
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.
Koskela, Oskari
Välikatsaus pelimusiikin tutkimuksen moniäänisyyteen other
2022.
Abstract | Links | Tags: Book review, Pelimusiikki, The Cambridge Companion to Video Game Music, Videopelimusiikki, Videopelit
@other{Koskela2022b,
title = {Välikatsaus pelimusiikin tutkimuksen moniäänisyyteen},
author = {Oskari Koskela},
url = {https://musiikki.journal.fi/article/view/125650/75701},
doi = {https://doi.org/10.51816/musiikki.125650},
issn = {2669-8625},
year = {2022},
date = {2022-12-21},
urldate = {2022-12-21},
booktitle = {Musiikki},
volume = {52},
number = {4},
publisher = {Suomen musiikkitieteellinen seura},
abstract = {As videogames are being increasingly recognized as a prominent cultural force, there is also a growing interest in the study of video game music within academia. Published in 2021, The Cambridge Companion to Video Game Music is the most recent milestone in establishing video game music research as a credible field of research. The book situates itself naturally on the same continuum with the founding of the Ludomusicology Research Group in 2011 and the launch of the Journal of Sound and Music in Games in 2020. With twenty-four chapters and over four hundred pages, the Companion is probably the largest and most comprehensive collection on game music studies so far. The overarching ethos of the editors Melanie Fritsch and Tim Summers could be described as a warm welcome to a plurality of views on videogame music and indeed, the diversity of perspectives is perhaps the most notable feature of the book: The chapters, divided into six sections each with an overall introduction, discuss a multitude of themes such as chiptune and the early history of videogame music, creation of videogame music, analytical approaches and psychological perspectives, questions relating to culture and identity and finally also game music beyond the context of gaming. Moreover, the list of writers includes not only researchers from a variety of backgrounds, but also people working within the game music industry. As a flipside to the plurality, several chapters appear more like overviews of the theme or suggestions for an approach rather than fully developed perspectives on videogame music. Especially some essential issues pointed out throughout the chapters, such as the concept of interactivity and centrality of player's perspective, would merit further and integrative theoretical discussion. Likewise certain broad themes, such as aesthetics and philosophy of videogame music, empirical research, and personal uses and functions of videogame music, are left to lesser regard. Despite this, the Companion is valuable as an approachable and comprehensive overview of videogame music studies that could prove insightful to not only those interested in the subject but, due to its inclusive and open approach, also to music researchers more broadly.},
keywords = {Book review, Pelimusiikki, The Cambridge Companion to Video Game Music, Videopelimusiikki, Videopelit},
pubstate = {published},
tppubtype = {other}
}
As videogames are being increasingly recognized as a prominent cultural force, there is also a growing interest in the study of video game music within academia. Published in 2021, The Cambridge Companion to Video Game Music is the most recent milestone in establishing video game music research as a credible field of research. The book situates itself naturally on the same continuum with the founding of the Ludomusicology Research Group in 2011 and the launch of the Journal of Sound and Music in Games in 2020. With twenty-four chapters and over four hundred pages, the Companion is probably the largest and most comprehensive collection on game music studies so far. The overarching ethos of the editors Melanie Fritsch and Tim Summers could be described as a warm welcome to a plurality of views on videogame music and indeed, the diversity of perspectives is perhaps the most notable feature of the book: The chapters, divided into six sections each with an overall introduction, discuss a multitude of themes such as chiptune and the early history of videogame music, creation of videogame music, analytical approaches and psychological perspectives, questions relating to culture and identity and finally also game music beyond the context of gaming. Moreover, the list of writers includes not only researchers from a variety of backgrounds, but also people working within the game music industry. As a flipside to the plurality, several chapters appear more like overviews of the theme or suggestions for an approach rather than fully developed perspectives on videogame music. Especially some essential issues pointed out throughout the chapters, such as the concept of interactivity and centrality of player's perspective, would merit further and integrative theoretical discussion. Likewise certain broad themes, such as aesthetics and philosophy of videogame music, empirical research, and personal uses and functions of videogame music, are left to lesser regard. Despite this, the Companion is valuable as an approachable and comprehensive overview of videogame music studies that could prove insightful to not only those interested in the subject but, due to its inclusive and open approach, also to music researchers more broadly.
Lehtonen, Lasse; Tuuri, Kai (Ed.)
Musiikki 4/2022: Pelimusiikin tutkimus Suomessa Book
Suomen musiikkitieteellinen seura, 2022, ISBN: 2669-8625.
Abstract | Links | Tags: Pelimusiikin tutkimus, Pelimusiikki, Suomi, Videopelimusiikki
@book{Lehtonen2022b,
title = {Musiikki 4/2022: Pelimusiikin tutkimus Suomessa},
editor = {Lasse Lehtonen and Kai Tuuri},
url = {https://musiikki.journal.fi/issue/view/8913
https://musiikki.journal.fi/issue/view/8913/1690},
isbn = {2669-8625},
year = {2022},
date = {2022-12-21},
urldate = {2022-12-21},
volume = {52},
number = {4},
issue = {4},
publisher = {Suomen musiikkitieteellinen seura},
abstract = {Tämä Musiikki-lehden teemanumero on ensimmäinen suomenkielinen antologia, joka kokoaa yhteen maassamme tehtävää pelimusiikin tutki-musta. },
keywords = {Pelimusiikin tutkimus, Pelimusiikki, Suomi, Videopelimusiikki},
pubstate = {published},
tppubtype = {book}
}
Tämä Musiikki-lehden teemanumero on ensimmäinen suomenkielinen antologia, joka kokoaa yhteen maassamme tehtävää pelimusiikin tutki-musta.