2021
Tuuri, Kai; Koskela, Oskari; Vahlo, Jukka; Tissari, Heli
Identifying the Impact of Game Music both Within and Beyond Gameplay 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. 411-418, Springer, 2021, ISSN: 0302-9743.
Abstract | Links | Tags: Game music, Human-music interaction, Impact, Memories
@inproceedings{Tuuri2021,
title = {Identifying the Impact of Game Music both Within and Beyond Gameplay},
author = {Kai Tuuri and Oskari Koskela and Jukka Vahlo 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-202111155659
},
doi = {https://doi.org/10.1007/978-3-030-89394-1_33},
issn = {0302-9743},
year = {2021},
date = {2021-11-02},
urldate = {2021-11-02},
booktitle = {Entertainment Computing – ICEC 2021: 20th IFIP TC 14 International Conference, ICEC 2021},
pages = {411-418},
publisher = {Springer},
series = {Lecture Notes in Computer Science},
abstract = {This paper presents an overview of and a brief critical reflection on game music’s impact on players both within and beyond the context of gameplay. The analysis is based both on the current literature as well as on preliminary (work-in-progress) observations of our research project Game Music Everyday Memories. We consider how the functions and uses of game music potentially extend to people’s everyday life, thus constituting a personally and culturally meaningful relationship with music that is not immediately connected to gameplay. On the other hand, we consider the ways game music and a person’s attachment to the music are involved in gameplay motivation and potential game retention. As a conceptual thematization, four approaches for identifying the broader musical impact of games are suggested and discussed. To substantiate the discussion, we combine some preliminary observations from two different datasets gathered within the ongoing project: (D1) personal narratives of fond game music memories (N = 183), and (D2) survey-data on favourite game music (N = 785).},
keywords = {Game music, Human-music interaction, Impact, Memories},
pubstate = {published},
tppubtype = {inproceedings}
}
This paper presents an overview of and a brief critical reflection on game music’s impact on players both within and beyond the context of gameplay. The analysis is based both on the current literature as well as on preliminary (work-in-progress) observations of our research project Game Music Everyday Memories. We consider how the functions and uses of game music potentially extend to people’s everyday life, thus constituting a personally and culturally meaningful relationship with music that is not immediately connected to gameplay. On the other hand, we consider the ways game music and a person’s attachment to the music are involved in gameplay motivation and potential game retention. As a conceptual thematization, four approaches for identifying the broader musical impact of games are suggested and discussed. To substantiate the discussion, we combine some preliminary observations from two different datasets gathered within the ongoing project: (D1) personal narratives of fond game music memories (N = 183), and (D2) survey-data on favourite game music (N = 785).
2019
Tuuri, Kai; Peltola, Henna-Riikka
Building Worlds Together with Sound and Music: Imagination as an Active Engagement Between Ourselves Book Section
In: Grimshaw-Aagaard, Mark; Walther-Hansen, Mads; Knakkergaard, Martin (Ed.): The Oxford Handbook of Sound and Imagination, pp. 345-358, Oxford University Press, 2019, ISBN: 978-0-19-046016-7.
Abstract | Links | Tags: ASMR, Culturesphere, Ecosphere, Embodied experience, Enactive imagining, Human-music interaction, Kinesphere, Metaphor, Narrative
@incollection{Tuuri2019,
title = {Building Worlds Together with Sound and Music: Imagination as an Active Engagement Between Ourselves},
author = {Kai Tuuri and Henna-Riikka Peltola},
editor = {Mark Grimshaw-Aagaard and Mads Walther-Hansen and Martin Knakkergaard},
url = {http://urn.fi/URN:NBN:fi:jyu-201908273934},
doi = {10.1093/oxfordhb/9780190460167.013.17},
isbn = {978-0-19-046016-7},
year = {2019},
date = {2019-09-26},
booktitle = {The Oxford Handbook of Sound and Imagination},
pages = {345-358},
publisher = {Oxford University Press},
abstract = {By conforming to the enactive approach to human cognition, and by adopting the Tia DeNora’s concept of human–music interaction as an “in-action” perspective, Kai Tuuri and Henna-Riikka Peltola explore socially extended imagining with sounds and music. This is done through a question of how “shared places” of imagining with sound are established and maintained. Defining the activity of imagining as an essentially dynamic and generative process that takes place in a social reality, the authors propose that the processes of imagining are not only individual but also become exhibited and jointly engaged in social dialogues as well. By first discussing the theoretical foundations of this shared imagining with sound, then by examining two case examples, the authors focus on the ways that imagination—as a joint active engagement—becomes shared in an interaction between individuals.},
keywords = {ASMR, Culturesphere, Ecosphere, Embodied experience, Enactive imagining, Human-music interaction, Kinesphere, Metaphor, Narrative},
pubstate = {published},
tppubtype = {incollection}
}
By conforming to the enactive approach to human cognition, and by adopting the Tia DeNora’s concept of human–music interaction as an “in-action” perspective, Kai Tuuri and Henna-Riikka Peltola explore socially extended imagining with sounds and music. This is done through a question of how “shared places” of imagining with sound are established and maintained. Defining the activity of imagining as an essentially dynamic and generative process that takes place in a social reality, the authors propose that the processes of imagining are not only individual but also become exhibited and jointly engaged in social dialogues as well. By first discussing the theoretical foundations of this shared imagining with sound, then by examining two case examples, the authors focus on the ways that imagination—as a joint active engagement—becomes shared in an interaction between individuals.