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This book, the first multi-disciplinary study of nostalgia and
videogame music, allows readers to understand the relationships and
memories they often form around games, and music is central to this
process. The quest into the past begins with this book, a map that
leads to the intersection between nostalgia and videogame music.
Informed by research on musicology and memory as well as practices
of gaming culture the edited volume discusses different forms of
nostalgia, how video games display their relation to those and in
what ways theoretically self-conscious positions can be found in
games. The perspectives of the new discipline ludmusicology provide
the broader framework for this project. This significant new book
focuses on an important topic that has not been sufficiently
addressed in the field and is clear in its contribution to
ludomusicology. An important scholarly addition to the field of
ludomusicology, with potential appeal to undergraduate and graduate
scholars in many related fields due to its inherent
interdisciplinarity, including musicology more broadly, game
studies and games design, film studies, as well as cultural and
media studies. It could also appeal to practitioners, particularly
those nostalgic and self-reflexive artists who already engage in
nostalgic practice (chiptune musicians, for instance). Also to
those researching and studying in the fields of memory studies and
cultural studies. Readership will include researchers, educators,
practitioners, undergraduate and graduate students, fans and game
players.
This book, the first multi-disciplinary study of nostalgia and
videogame music, allows readers to understand the relationships and
memories they often form around games, and music is central to this
process. The quest into the past begins with this book, a map that
leads to the intersection between nostalgia and videogame music.
Informed by research on musicology and memory as well as practices
of gaming culture the edited volume discusses different forms of
nostalgia, how video games display their relation to those and in
what ways theoretically self-conscious positions can be found in
games. The perspectives of the new discipline ludmusicology provide
the broader framework for this project. This significant new book
focuses on an important topic that has not been sufficiently
addressed in the field and is clear in its contribution to
ludomusicology. An important scholarly addition to the field of
ludomusicology, with potential appeal to undergraduate and graduate
scholars in many related fields due to its inherent
interdisciplinarity, including musicology more broadly, game
studies and games design, film studies, as well as cultural and
media studies. It could also appeal to practitioners, particularly
those nostalgic and self-reflexive artists who already engage in
nostalgic practice (chiptune musicians, for instance). Also to
those researching and studying in the fields of memory studies and
cultural studies. Readership will include researchers, educators,
practitioners, undergraduate and graduate students, fans and game
players.
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