CONFERENCE PLAYLISTS

Throughout history, musical performance practice has evolved, departing from the traditional frames of concert halls and exploring new forms and spaces beyond them. As the very title of this conference suggests, music transcending the boundaries of the concert space and entering different spheres is becoming increasingly prevalent. Through the additional program of the conference, we will explore how video game music serves as an outstanding example of applied music that continuously transforms through various frameworks, functions, and spaces.

Video game music has come a long way from being a mere sound signaling tool to complex melodic lines that contribute to maximizing the potential of some of the most crucial components of this media, such as narrative, atmosphere, and immersive experience. Although initially tied to the presentation framework of video game media as a spatial-discursive context, video game music possesses incredible potential for various presentations. It is present everywhere - in our homes, public spaces, and concert halls - depending solely on the form in which we choose to listen to it and access it. For the first time in the history of applied music, consumers have the opportunity to become active participants in the musical experience through their mobile phones. They are the ones whose actions and decisions in video games determine how a musical work will ultimately sound. Conversely, even those who haven't played the iconic Super Mario Bros video game can experience its music. Simply attending a symphony orchestra concert where the piece is featured or streaming the song online allows them to immerse themselves in the experience.

The Music Beyond the Concert Hall conference program will be enriched with music from video games that we will listen to during breaks between sessions. It will be carefully curated playlists through which we will experience a little journey through time and space, from well-known melodies of old arcade games to contemporary achievements that explore the boundaries between sound and interactivity and are currently on the repertoires of renowned orchestras worldwide. We will have the opportunity to hear melodies from famous video games such as Final Fantasy, The Legend of Zelda, and Civilization IV, as well as music from games Journey and L.A.Noire, among many others. Additionally, conference participants will have the opportunity to hear music from video games signed by the Demagog studio from Serbia, which is an excellent example of the innovation and interdisciplinary implementation of music in this media. Through the music we will listen to, we will have the opportunity to hear how composers have succeeded in advancing their artistic expression through music in this media, using technology as a creative tool and creating new possibilities for compositional and production solutions.

In the theoretical discourse of new media over the past two decades, various researchers dealing with video game music (also known as ludomusicologists) increasingly emphasize the aesthetic significance of music in video games within the broader context of applied and artistic music. Video game music is not just background noise; it can be a form of art that can stand on its own, separate from the visual elements of the game. In certain video games, music has genuine artistic significance and offers enormous potential for further exploration. Just as the film was once the central theme of research practices of musicologists dealing with applied music, it now seems that video games are becoming the new "central place" for new research practices and approaches. Among other things, this conference represents an important step towards a better understanding of video game music within the broader context of applied music and art music in general.

Similar to the theme of this conference, Music Beyond the Concert Hall, it appears that music from video games is currently unrestricted by conventional limitations, showing immense potential. We firmly believe this potential will culminate in remarkable musical works in the years ahead. That is why our recommendation is to carefully listen to the music we have selected for you, as it may serve as inspiration for some new, immersive, unforgettable, and musical experiences.

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In Belgrade, April 2024

Katarina Mitić Minić