Pixel Soundtracks

Table of Contents
Acknowledgments
Introduction
Chapter 1: The Sonic Invasion - Space Invaders (1978)
Stage 1: How Video Games Make Music
Chapter 2: Music on Chips - Super Mario Bros (1985)
Chapter 3: MIDI, Samples and Synthesis - Kings Quest IV (1988)
Chapter 4: CD Audio and Recorded Sound in Games - Wipeout (1995)
Stage 2: Integrating Music in Games
Chapter 5: Dynamic Music - The Operative: No One Lives Forever (2000)
Chapter 6: Generating Music with Algorithms - Mini Metro (2015)
Chapter 7: Introductions, Menus and Loading Screens - BioShock Infinite (2013)
Stage 3: The Role of Music in Games
Chapter 8: Battle and Boss Music - Dark Souls III (2016)
Chapter 9: Characters and Stories - Final Fantasy VI (1994)
Chapter 10: Building Worlds and Histories - Kingdom Hearts (2002)
Chapter 11: Music and Feeling in Play - Ori and the Blind Forest (2015)
Stage IV: Aesthetic Questions
Chapter 12: Music and Gameplay - The Artful Escape (2021)
Chapter 13: Nostalgia and Remakes - Resident Evil 2 (1998/2019)
Chapter 14: Modern Chiptune and Fandom - Undertale/Deltarune (2015/2021+)
Chapter 15: Classical Music and Video Games - Untitled Goose Game (2019)
Chapter 16: Popular Music and Game Music - 50 Cent: Bulletproof (2005)
Stage 5: Game Music and Wider Culture
Chapter 17: Identity, Representation and Avatars - Tomb Raider (2013)
Chapter 18: Adaptations - Star Trek: Judgement Rites (1993 Floppy Version/1995 CD-ROM Version)
Chapter 19: Game Music in Concert and On Record - Xevious (1982)
Final Boss
Playing Games, Playing with Music - The Legend of Zelda: Ocarina of Time (1998)
Bibliography