Musicking with digital games

Abstract

This dissertation applies the concept of ‘musicking’, introduced by musicologist Christopher Small, to the analysis of digital games. According to Small, “to music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practising, by providing material for performance (composing) or by dancing” (Small, 1998, p. 9). If that is the case, in what capacity players of digital games take part in musical performances? This dissertation provides a detailed answer to this question, situating it within the discipline of Game Studies. Digital games are considered for their cybernetic qualities (Aarseth & Calleja, 2015) as objects that can be traversed and reconfigured by means of ergodic effort. (Aarseth, 1997). The intersection of ergodic effort and musicking practices manifested in digital games generates a new musicking form : ergodic musicking. Ergodic musicking is identified as a modern form of musicking, capable of deconstructing established musical roles such as composing, improvising, or dancing. Ergodic musicking, however, is not just a mixture of previous forms: it is instead a unique musicking, only available to digital games. Thanks to their cybernetic qualities, digital games have provided music with an unprecedented platform, actualising a new form of musical participation. The subject matter of musicology of digital games is therefore to be understood as the study of musical forms of participation in digital games. Musicking is debated as a new paradigm for musicological enquire of digital games, challenging critical perspectives that have predominantly focused on the study of musical contents. Ostensibly musical digital games such as ‘Guitar Hero’ (Harmonix/RedOctane, 2005) or ‘Taiko no Tatsujin’ (Namco, 2001) are analysed for their musicking potential. These examples are then contrasted with musical games that do not remediate known musical situations, like ‘Thumper’ (Drool, 2016) or ‘BIT.TRIP RUNNER’ (Gaijin Games, 2010). This dissertation includes a detailed case study of the digital games designed by Japanese media artist Toshio Iwai, understood as a pioneer of musicking. Ergodic musicking is presented as a modality also available in digital games that feature sparse and occasional musical content, detailing an ‘experimental’ modality drawn from theories of indeterminate works. Finally, ergodic musicking is situated within the larger frame of technological musicking defined by Borgo as transmusicking (2007 ; 2013), realising the futuristic possibilities of digital and networked technologies.