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Volume 3,
Issue 1
Winter 2022
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Björn Redecker
This article aims to explore the possibility of applying the term boundary object to game music. This term was coined by Susan Leigh Star and James R. Griesemer in their 1989 article “Institutional Ecology, ‘Translations’ and Boundary Objects” and ...
Joana Freitas
When Jeremy Soule, composer for some of the most well-known video game franchises in the world such as Guild Wars and The Elder Scrolls , was accused of sexual misconduct by women in the gaming industry in 2019, the internet hosted reactions from ...
Thomas Studley, Jon Drummond et al.
This article presents practice-based research exploring the interplay of real-time music creation and competitive gameplay. Musically creative video games, apps, and sound art are first surveyed to highlight their characteristic avoidance of ...
John Robert Matz
The composer for the digital collectible card game Mythgard (Rhino Games, 2020) shares a perspective on the design and implementation of the game’s music. Composition challenges included creating a dynamic music system that would work across ...

About the Journal

The Journal of Sound and Music in Games (JSMG) is a peer-reviewed journal that presents high-quality research concerning all areas of music and/or sound in games. It serves a diverse community of readers and authors, encompassing industry practitioners alongside scholars from disciplinary perspectives including anthropology, computer science, media/game studies, philosophy, psychology and sociology, as well as musicology. JSMG is the only journal exclusively dedicated to this subject and provides a meeting point for professionals and academics from any tradition to advance knowledge of music and sound in this important medium.

eISSN: 2578-3432

Published:  Quarterly

Editor-in-Chief: Stephen Baysted, University of Chichester 

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