Yunyu Ong
ABSTRACT
This paper briefly examines the relationship between music recordings and narrative structures found in video games. It highlights the immersive and time-consuming nature of game quests, where players invest substantial time exploring virtual worlds to reveal the narrative. The paper explores the potential of spatialised music experiences, particularly in the context of Dolby Atmos and the concept of degrees of freedom (3DoF and 6DoF). It investigates the application of spatial algorithms and game engines' middleware to create immersive music experiences that dynamically adapt to the listener's spatial and temporal position. The research acknowledges limited instances of studies on compositional narrative design frameworks specifically tailored for completely spatialised music, particularly regarding the virtual spatialisation of individual instruments. It recognizes that the prevalence of non-diegetic music in games, which serves to represent the player's emotional state, has impeded the exploration of spatialised music elements. Consequently, the paper proposes the adoption of narrative design frameworks derived from video games as a promising approach for songwriters to develop Quest Driven Spatial Songs (QDSS).
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