Delighted you’re here! I’m video game composer Winifred Phillips, and I’m happy to welcome you back to the last of my four-part article series exploring how game music can best enhance the sensation of presence in Virtual Reality! These articles are based on the presentation I gave at this year’s Game Developer’s Conference in San Francisco, entitled How Music Enhances Virtual Presence (I’ve included the official description of my talk at this end of this article). If you haven’t read the previous three articles, you’ll find them here:
Delighted you’re here! I’m video game music composer Winifred Phillips. Welcome back to our four part discussion of how game music can enhance presence in awesome virtual reality video games! These articles are based on the presentation I gave at this year’s gathering of the famous Game Developer’s Conference in San Francisco. My talk was entitled How Music Enhances Virtual Presence (I’ve included the official description of my talk at this end of this article). If you haven’t read the previous two articles, you’ll find them here:
Hello there! I’m video game composer Winifred Phillips. At this year’s Game Developers Conference in San Francisco, I was pleased to give a presentation entitled How Music Enhances Virtual Presence (I’ve included the official description of my talk at the end of this article). The talk I delivered at GDC gave me the opportunity to pull a lot of ideas about virtual reality together and present a concentrated exploration of how music can increase a sensation of presence for VR gamers. It occurred to me that such a discussion might be interesting to share in this forum as well. So, with that in mind, I’m excited to begin a four-part article series based on my GDC 2019 presentation!
Delighted you’re here! I’m very pleased to share that over the next two months I’ll be speaking at two fantastic events focusing on music in video games! My two presentations will explore the unique structure and character of video game music, and how it helps to better envelop players in the worlds that game designers have created. I thought that this article might be a good opportunity to delve into some of the ideas that form the basis of my two upcoming talks. First, I’d like to share some details about the presentations I’ll be giving.
The Library of Congress has invited me to speak this April as a part of their “Augmented Realities” video game music festival. My presentation, “The Interface Between Music Composition and Game Design,” will take place at the Library of Congress in Washington DC. I’m very excited to participate in this event, which will be the first of its kind hosted by the “Concerts from the Library” series at the Library of Congress! The “Augmented Realities” video game music festival will also include panels on video game music history and preservation presented by distinguished curators and archivists at the Library of Congress, a special documentary screening that explores the ChipTunes movement, and a live “game creation lab.” My presentation will be the concluding lecture of the festival, and I’m honored to speak at such an illustrious event! If you find yourself in the Washington DC area on April 6th 2019, you’re very welcome to come to my lecture at the Library of Congress! Tickets are free (first come, first served), and they’re available now via EventBrite.
But before my lecture at the Library of Congress, I’ll be making a trip to San Francisco for the famous Game Developers Conference that takes place this month. For the past few years I’ve been excited and honored to be selected as a Game Developers Conference speaker in the Game Audio track, and I’m happy to share that I’ll be speaking again this month in San Francisco at GDC 2019! My talk this year is entitled “How Music Enhances Virtual Presence.”
So happy you’ve joined us! I’m videogame composer Winifred Phillips (pictured above working on my career breakthrough project, God of War). Today I’ll be discussing a hot topic that we’ve previously explored, but that definitely deserves to be revisited periodically. This is one of the most popular subjects that I’ve addressed in my previous articles here: How does a newcomer get hired as a game composer?
I’m asked this question frequently, and while I offered quite a lot of advice on this topic in my book A Composer’s Guide to Game Music, I’m keenly aware of how urgent the need is for updated guidance on this issue for aspiring video game composers. Game music newcomers often feel adrift and alone in the game industry, and some good advice can be a welcome lifeline. In my book, I described the career path that led me into the game industry and allowed me to land my first gigs, but I’m well aware that my experience was pretty unique. With that in mind, I’ve collated some recent research and insights from some top game industry professionals in this article, in the hopes that some of these expert observations might prove helpful. There are lots of original and provocative viewpoints presented here, so we should feel free to pick and choose the strategies and tips that will work best for us.
Also, later in the article you’ll find my presentation for the Society of Composers and Lyricists seminar, in which I answered the question about how I personally got my start in the games industry (for those who might be curious). Finally, at the end of the article I have included a full list of links for further reading and reference.
Hey, everyone! I’m videogame composer Winifred Phillips, and my work has included the musical scores for top games on all sorts of popular gaming platforms, from handhelds and mobile, all the way up to the latest consoles and PCs. Lately, I’ve been doing a lot of video game music composition for virtual reality. I had the pleasure of presenting a lecture on Music in Virtual Reality (pictured left) at the most recent Game Developers Conference in San Francisco.
By virtue of all the experiences I’ve had recently creating music for VR, I’ve become keenly aware of the importance of sound fidelity in VR. If the experience doesn’t sound real, it loses the chance to actually feel like a fully-convincing, thoroughly awesome virtual reality experience. With that in mind, I’ve been writing periodic articles about new technologies in connection with headphones for VR.