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aUral FIXatIoN // YaNN SezNec

procedural music

Making gaMes into Music, and Making Music into gaMes

if i were to describe a composition system that generates music by using a set of algorithmic parameters which are then
reinterpreted by performers, many people would lose interest pretty quickly—in fact, I may have lost many of you by the time I got to
“system.” However, if you replace “music” with “audio” in that sentence, I am effectively describing every single game audio system
ever made. In some ways, talking about procedural music with game developers is preaching to the choir; game developers already
work with this kind of thing regularly while working on game audio, but it’s worth looking into how we can make procedural music
composition systems that can inform your game design (and vice versa).
New words, old ideas procedural music was the so-called entirely left up to the players. They desigNiNg music,
» Procedural music, also called Musical Dice Game occasionally are playing within the framework of composiNg games
generative or algorithmic music, attributed to Mozart, but generally the song’s chord changes, tempo, » We can begin to think about what
is all about creating a set of rules popular among composers and and rhythm, but otherwise they are music can bring to game design
that will dictate the music that players in the 18th century. In this exploring on their own. by taking traditional composition
is created. This is, of course, not game, the sheet music would be split Creators of 20th-century methods and applying them to
dissimilar to game design, which up into a number of different musical classical music became quite games. Both game design and
is about creating a structure and phrases. Participants would roll the obsessed with the idea of procedural music composition are essentially
letting players explore and make dice a set number of times, and use music, to the point where the based around a series of choices,
meaningful decisions. You have those numbers to cobble together elements of the composition that and both in many cases involve
to account for loads of different a brand-new piece of music. While were left undefined could become some sort of start, end, and cycle.
scenarios, and the game is ultimately calling this a “game” is a stretch, the most important. John Cage As a counterpoint teacher once
controlled not by the designer at it was an interesting way to get a demonstrated this with a number explained to me, once you have
all, but by the player. In the world of nearly infinite number of variations of different pieces, such as “As written a note of music you only
music composition, this isn’t anything out of a single piece of music. Slow as Possible,” the length of ever have four choices. You can
new. Composers are often challenged Jumping forward a few which can vary wildly (one ongoing play that note again, you can play
or excited by the prospect of hundred years, many forms of jazz performance will last for 639 years). that note again differently, you can
performers taking their music and are arguably procedural music, His piece “Fontana Mix” took this change the note, or you can not play
turning it into something new. particularly the more improvisatory approach even further, with the any note. Similar sets of choices
This problem/opportunity genres such as bebop or Dixieland. In instrumentation defined as “any inhabit the world of game design,
(probletunity?) has existed as these formats, often a simple melody number of tracks of magnetic tape, and there are similar techniques for
long as people have been writing serves as the basis for enormously or for any number of players, any simplifying the process as well.
down music. An early approach to complex variations, which are kind and number of instruments.” One particularly good example is

50 game developer | october 2012