Video Game Sound Module Guide 2014/15

General information
Module Title

Video Game Sound

Academic Year

2014-15

Level

Description of the module

The Video Game Sound module explores interactive sound and music in the specific context
of video games. Taking a rounded approach to the subject, you will learn both theoretical
and practical aspects of video game sound and music. The module places dual emphasis on
understanding of the possibilities of common video game audio technologies (including
procedural and layered audio approaches), and developing personal strategies for original
musical composition and/or sound design. Where possible, students are encouraged to draw
upon and involve their own areas of interest and expertise. In addition to the development of
a practical portfolio, a short written report will explain and evaluate your ideas and approach,
the development process, and practical outcomes.

Learning outcomes
By the end of this module you will be able to;
LO1 - Research, assimilate, and synthesise complex information in relation to video game
sound and music;
LO2 - Develop creative concepts in the context of video game sound and music;
LO3 - Demonstrate the technical skills and competencies needed to implement and realise
these ideas in code and/or appropriate software environments;
LO4 - Employ audio technologies (microphones, field recorders, mixing consoles, etc.) for
the purpose of video game sound/music creation.

Module content
Week 1 - 03/02/15
Introduction to the module. A review of the history of video gaming, types of games, an
overview of platforms and the limitations of different formats. An overview of the types and
functions of video game audio, including a comparison with film sound.
Week 2 - 10/02/15

An overview of the game business, including the production process commonly used in
video game creation, the design document and the main roles and responsibilities. Definition
of, and discussion on, the audio design document. An overview of middleware (FMOD,
Wwise), APIs, audio engines etc. An introduction to Unity as an example of a game engine.
Week 3 - 17/02/15
Kahn-style flipped session - independant study looking at code and the main themes in
game audio as covered by Karen Collins.
Week 4 - 24/02/15
The sound production phase, including recording, synthesising and sourcing audio. Pd,
SuperCollider and Open Sound Control used to prototype various elements of game sound.
Designing and implementing a smart audio mix engine. The integration of sound into
gameplay using cues and triggers, game-state and parameter changes. An overview of
variability in game audio. The creation of examples of each type of audio variability in
SuperCollider.
Week 5 - 03/03/15
Adding live processing to the audio engine. An analysis of the types of processing typically
used in an audio engine. A discussion around physical modelling, including occlusion and
obstruction.
Week 6 - 10/03/15
Compositional approaches, including specific approaches to dynamic music implementation
and variability in sound design using Pd, SC and OSC triggers.
Week 7 - 17/03/15
An introduction to practical algorithmic composition. A review of the history of algorithmic
composition and the main approaches, followed by the practical implementation of the main
ideas in code.
Week 8 - 24/03/15
A review of procedural sound effect creation, with particular reference to Andy Farnells Pd
models (and the SC ports). Future developments in game audio - educated guesswork and
speculation. Tutorial arrangements for weeks 11 and 12. Arranging groups for week 9s
seminars.
Week 9 - 14/04/15
Practical workshop and seminar - show your work.

Week 10 - 21/04/15
Finalising the design of your game audio patch and beginning the final implementation of
code. A discussion on documentation and versioning systems in code development and the
usefulness of tools such as Git. Final arrangements for assessment format and submission.

Learning activities

This module comprises lectures, workshops, seminars and tutorials on different aspects of
sound and music for video games designed to enable students to put their developing skills
into practice.
Attendance at all taught sessions is expected. These sessions are important in relation to
students learning and equipping students for assessment tasks. Absences will interfere with
the students ability to complete the assignments successfully.
Mac computers and all necessary software are provided in the Performance Hub tech suites.
The majority of software used is Open Source and so may be freely used by students on
their own/home machines.

Resources
Books
Access to the following books is essential throughout the module:
Collins, K. (2008). Game Sound: An Introduction to the History, Theory, and Practice of
Video Game Music and Sound Design. MIT Press, Cambridge, MA.
Farnell, A. (2010). Designing Sound. MIT Press, Cambridge, MA.
Horowitz S. & Looney S. (2014), The Essential Guide to Game Audio: The Theory and
Practice of Sound for Games, Focal Press
Marks, A. (2009). The Complete Guide to Game Audio: for Composers, Musicians, Sound
Designers, and Game Developers. Taylor and Francis, 2nd edition.
Puckette, M. (2006) The Theory and Technique of Electronic Music, [online] Available from:
http://msp.ucsd.edu/techniques.htm.
Roads, C. (1996). The Computer Music Tutorial. MIT Press, Cambridge, Massachusetts.
Russ, M. (2008). Sound Synthesis and Sampling. Focal Press, 3rd edition.
Stevens, R. and Raybould, D. (2013). The Game Audio Tutorial. Focal Press.
Winkler, T. (1998). Composing Interactive Music: Techniques and Ideas Using Max. MIT
Press, Cambridge, Massachusetts.

Journals
Computer Music Journal - ongoing
Contemporary Music Review - ongoing

Specific
Cycling 74 (developers of Max): http://cycling74.com and http://cycling74.com/newest-topics/
SuperCollider: http://supercollider.sourceforge.net/
Andy Farnells personal website: http://obiwannabe.co.uk/
Create Digital Music: http://createdigitalmusic.com/
Sound On Sound: http://soundonsound.com
Unity game engine: http://unity3d.com/
Creative Assembly: http://www.creative-assembly.com/jobs

Additional resources
The specialist software used in this module is Open Source and cross-platform, allowing
development of patches on a wide variety of hardware. There are several online tutorials
outlining sound design and game audio.

Reference points

QAA Music 08 Benchmark

Framework for Higher Education Qualifications (FHEQ)
Special Educational Needs Disability Act 2001 (SENDA)
Race Relations Amendment Act (RRAA) (School Policy Document)
School documents:
University Strategic Plan
School Operating Plan
School Assessment Handbook
Continuous monitoring via course journal
School Equality Policy

Assessment

There are two parts to the assessment:

1. A piece/pieces of interactive video game sound design/music (using the
techniques/strategies introduced in lectures);
2. 1500 word written report.
Both parts are to be submitted on or before 18/05/15.

Part 1: Practical video game sound/music

You will produce a piece (or pieces) of interactive sound design/music. Based on a serverclient model, you must develop a piece of interactive music or sound design that is driven
by/responds to OSC messages in real-time. There are several possible scenarios that will be
discussed in lectures, with the most common being a prototype audio engine or algorithmic
music system that responds to OSC input.
You must submit all code, audio and other supporting files (such as the game type and
scenario) needed for your work to function. It is your responsibility to check that the final
submission works on the Macs in the Performance Hub tech suite (state which workstation
you have tested your work on).

Part 2: 1500 word written report

The function of this report is to support your practical work, explaining your ideas and
methods, and evaluating the finished video game sound/music. The inclusion of appropriate
images (screenshots, etc.) to illustrate your text is recommended. Your report should also
follow all of the usual conventions of academic writing (e.g. Harvard Style referencing), with
thought given to appropriate layout and visual presentation. The completed report should be
submitted as a PDF, Word, Rich Text or Google Drive file. Other file formats will not be
marked.

Evidence required
It is expected that all work submitted for academic credit will be the students own. You will
need to make use of the Harvard reference system to distinguish your own ideas from those
of others. This includes information gained directly and indirectly.

Assessment criteria

The work will be assessed using the criteria detailed below.

Grade

Description

90100%:
Outstanding

Exceptionally realised and original practical work, with critical use of

independently sourced contextual material. Outstanding practical
evidence demonstrating an understanding of relevant theory,
concepts and models. Extremely well planned work with high level of
analysis. No obvious errors in the completion of the assessment.
Outstanding demonstration of linked understanding of relevant theory
and concepts. Extremely well structured written work with high level of
analysis. No obvious errors in referencing or grammar or syntax as
appropriate.

8089%:
Excellent

Very well realised and independent practical and written work using
wholly relevant material which is well beyond any module input,
demonstrating independent study. Excellent realisation of the task
demonstrating an understanding of relevant theory, concepts and
models. Very clear logical structure and planning. Very few errors in
the completion of the assessment. Very clear logical structure in the
written work. Very few errors in referencing or grammar or syntax as
appropriate.

7079%:
Very good

Full response to the assignment with all practical work well realised,
genre-appropriate and focused. Very good understanding of relevant
theory, concepts and models demonstrated in the practical and
written work. Application of appropriate theory to practice,
demonstrating a rigorous approach to a variety of ideas, contexts and
frameworks. Few errors in the completion of the assessment. Written
work applies appropriate theory to examples/practice. Few errors in
referencing or grammar or syntax as appropriate.

6069%:
Good

Covers most if not all detailed aspects of the practical task. Planning
results in mainly relevant content. Good knowledge and
understanding of relevant practical techniques, theory and concepts
and application of theoretical models. Evidence of a developing
appreciation of contextual issues. Some small repeated errors in the
completion of the assessment. Written work presents evidence of a
developing appreciation of contextual issues with some small
repeated errors in referencing or grammar or syntax as appropriate.

5059%:
Competent

Main issues addressed and a solid attempt to complete the practical

task. Some relevant content applied in planning. Practical and written
work demonstrates a sound knowledge and understanding of relevant
techniques, theory and concepts and identification of main issues.
Some repeated errors in the completion of the assessment, and/or in
the referencing or grammar or syntax of the written work.

4049%:
Basic

Satisfactory attempt to address related issues with some content

relevant to the practical task. The finished practical and/or written
work engages with relevant module materials, but largely repeats
taught input and lacks development or personal interpretation. Some
general understanding and practical application of topic theory and
concepts. Lacks coherence.

3039%:
Retrievable
fail

Some learning outcomes and / or assessment criteria not met. Task

not fully completed. Planned content not wholly relevant. Little or no
evidence of understanding of relevant theory and/or practice. Very
repetitive of taught input no development or application. The use of
extensive quoted passages evident in written work. Evidence of
sufficient grasp of learning outcomes to suggest that the participant
will be able to retrieve the module on resubmission.

2029%

No learning outcomes fully met. Little attempt to engage with the

module materials or ideas.

1019%

Little attempt to engage with assignment brief and has not met
learning outcomes. Inadequate demonstration of knowledge or
understanding of key concepts, theories or practice.

09%

No real attempt to address the assignment brief or learning outcomes.