Composers must create a score which can quickly transition between moods and accommodate a vast array of in-game activities
calendar for any major concert hall and you will probably find a live performance of film music somewhere on the programme. The Berlin Philharmonic has paid tribute to the work of John Williams, an Oscar-winning composer. The Lincoln Centre runs a series of events called “The Art of the Score”; the Royal Albert Hall’s counterpart is called “Films in Concert”. Such performances acknowledge the central role film occupies in popular culture.
Writing music for games presents a unique challenge. “A film composer works with a beginning, middle and an end,” says Robert Ames, the conductor of the “Gaming Prom” who has worked with some of the world’s leading orchestras. “But with video games, the story might be different for every player. Character, story and melody have to be distinct in order for the player to get a coherent picture of what is going on at any particular moment, and within the scope of the whole story.
Austin Wintory, an American composer whose work for “Journey” was performed at the Prom, argues that gamers experience music in a different way—not least because of the amount of time they will spend listening to it. “When a player achieves something in a game, accompanied by a stirring piece of music, they feel like they own that moment. It’s not something they watched. It’s something they experienced and that moment stays with them.
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