Inspired by Karen Collins' highly instructive book Playing with Sound (2013), Melanie Fritsch explores the player's influence on the acoustic makeup of digital games and investigates secondary practices around game music, including its emergence in the concert hall and the significance of sound generator technologies within the chiptune scene. Despite having the same interest, Fritsch goes beyond Collins's approach in that she is concerned with the development of an analytical method to adequately describe the specifics of music in video games, dedicated music games, and performances of computer game music outside the gaming context. As co-founder of the Society for the Study of Sound and Music in Games, Fritsch feels thoroughly committed to the idea of ludomusicology. Although ludomusicology can be characterized as a fairly young discipline whose process of self-discovery is still ongoing, its proponents seem to agree that the study of musical compositions for games, and with games,...

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