-
出版商:
Springer
-
出版日期:
2026-04-14
-
售價:
$2,640
-
貴賓價:
9.5 折
$2,508
-
語言:
英文
-
頁數:
83
-
裝訂:
Quality Paper - also called trade paper
-
ISBN:
3032126819
-
ISBN-13:
9783032126818
-
相關分類:
遊戲設計 Game-design
商品描述
This SpringerBrief introduces and examines "digital gameful compositions" (DGCs) in interactive computer music, i.e. interdisciplinary new media works that substantially integrate both digital games and music performance. DGCs are performative, interactive musical works structured by game mechanics, in which the music emerges through the dynamic engagement of the player-performer within the system. The book is organized into four chapters, exploring the conceptual, technical, and experiential dimensions of DGCs. Chapter 1 provides foundational context for understanding DGCs by tracing the historical and theoretical intersections of music and games. Next, chapter 2 focuses on the mechanics of DGCs and how these systems generate musical meaning. It examines how game mechanics can function as digital scores, musical instruments, and virtual performance spaces. Chapter 3 then explores the role of agency and experience in DGCs, focusing on how performers and audiences engage with these works. It applies semiotic frameworks to analyze how meaning emerges through interaction, and introduces concepts such as ergodicity, decision space, and the hierarchy of interactive forms. It also addresses the role of the audience, discussing transparency, participation, and the aesthetics of fun and play. Finally, chapter 4 looks toward the future of DGCs by examining how emerging technologies are reshaping the medium. It considers how these technologies expand the expressive potential of DGCs by enabling new forms of embodiment, interaction, and collaboration.
商品描述(中文翻譯)
本書由SpringerBrief出版，介紹並探討「數位遊戲化作品」（DGCs）在互動電腦音樂中的應用，即是將數位遊戲與音樂表演實質整合的跨學科新媒體作品。DGCs是以遊戲機制結構的表演性、互動性音樂作品，音樂透過玩家-表演者在系統中的動態參與而產生。
本書分為四個章節，探討DGCs的概念、技術和體驗維度。第一章提供了理解DGCs的基礎背景，追溯音樂與遊戲的歷史和理論交集。接下來，第二章專注於DGCs的機制以及這些系統如何產生音樂意義。它探討了遊戲機制如何作為數位樂譜、音樂工具和虛擬表演空間運作。第三章則探討了在DGCs中代理性和體驗的角色，重點在於表演者和觀眾如何與這些作品互動。它應用符號學框架分析意義如何透過互動而產生，並介紹了如可逆性（ergodicity）、決策空間（decision space）和互動形式的層級（hierarchy of interactive forms）等概念。它還討論了觀眾的角色，涉及透明度、參與性以及趣味和遊戲的美學。最後，第四章展望DGCs的未來，探討新興技術如何重塑這一媒介。它考慮這些技術如何通過啟用新的具身性、互動性和協作形式來擴展DGCs的表達潛力。
作者簡介
Paul Turowski is a composer, performer, and Senior Lecturer in Music and Game Design at the University of Liverpool. His research focuses on fusions of digital gameplay and music-making to explore broader topics such as player agency and multimodal representation. His creative work has been internationally presented and performed by various professional ensembles. Simon Hutchinson is Professor of Music at the University of New Haven. He is a composer and interdisciplinary artist whose work investigates the cultural narratives that are embedded in our interactions with technology. His creative and scholarly output spans such topics as interactive media, digital aesthetics, and the implications of emerging technologies. Takuto Fukuda is Assistant Professor in Electronic Music and Media Arts at the University of Pécs. He is a composer, researcher and educator who uses music technologies to question preconceived boundaries of human conditions, such as those between human and non-human, normal and abnormal, and able and disabled. His creative and scholarly output has been presented at various international festivals and conferences such as Ars Electronica, ISCM, ICMC, NIME and TENOR.
作者簡介(中文翻譯)
保羅·圖羅斯基是利物浦大學音樂與遊戲設計的作曲家、表演者及高級講師。他的研究專注於數位遊戲與音樂創作的融合，以探索更廣泛的主題，如玩家的主動性和多模態表現。他的創作作品已在國際上由多個專業樂團演出和展示。 西蒙·哈欽森是新哈芬大學的音樂教授。他是一位作曲家和跨學科藝術家，其作品探討我們與科技互動中所嵌入的文化敘事。他的創作和學術成果涵蓋互動媒體、數位美學以及新興科技的影響等主題。 福田拓人是佩奇大學電子音樂與媒體藝術的助理教授。他是一位作曲家、研究者和教育者，利用音樂科技質疑人類條件的先入之見界限，例如人類與非人類、正常與異常、以及能與殘障之間的界限。他的創作和學術成果已在多個國際音樂節和會議上展示，如阿斯電子音樂節（Ars Electronica）、國際當代音樂協會（ISCM）、國際計算音樂會議（ICMC）、新興音樂會議（NIME）和TENOR。
