Diegetic Music - Game Sound Technology and Player Interaction: Concepts and Developments - page 75

Sierra (1993). Gabriel Knight: Sins of the Fathers
[Computer game]. Sierra Entertainment.

Wingstedt, J. (2008). Making music mean: On
functions of, and knowledge about, narrative music
in multimedia . Unpublished doctoral dissertation.
Luleå University of Technology, Sweden.

Stenzel, M. (2005). Automatische Arrangi-
ertechniken für affektive Sound-Engines von
Computerspielen . Unpublished diploma thesis.
Otto-von-Guericke University, Department of
Simulation and Graphics, Magdeburg, Germany.

Wooller, R. W., & Brown, A. R. (2005). Investi-
gating morphing algorithms for generative music.
In Proceedings of Third Iteration: Third Interna-
tional Conference on Generative Systems in the
Electronic Arts . Melbourne, Australia.

Stockmann, L. (2007). Designing an audio API for
mobile platforms. Internship report . Magdeburg,
Germany: Otto-von-Guericke University.

Stockmann, L., Berndt, A., & Röber, N. (2008). A
musical instrument based on interactive sonifica-
tion techniques. In Proceedings of Audio Mostly
2008: 3rd Conference on Interaction with Sound
(pp. 72-79). Piteå, Sweden: Interactive Institute/
Sonic Studio Piteå.

KEY tErMs AND DEFINItIONs

Diegesis: Traditionally it is a fictional story
world. In computer games, or more generally in
interactive media, it is the domain the user ulti-
mately interacts with.
Diegetic Music: Music that is performed
within the diegesis.
Extra-Diegetic: The terms extra-diegetic
and non-diegetic refer to elements outside of the
diegesis. Extra-diegetic is commonly used for
elements of the next upper layer, the narrator's
world or the game engine, for instance. Non-
diegetic, by contrast, refers to all upper layers up
to the real world.
Music Video Games: Computer games
with a strong focus on music-related interac-
tion metaphors. For playability, musical aspects
are often, if not usually, transformed into visual
representatives.
Musical Diegesis: In music video games, the
user interacts with musical data. These constitute
the domain of musical possibilities, the musical
diegesis.
Nonlinear Music: The musical progress in-
corporates interactive and/or non-deterministic
influences.

Taube, H. K. (2004). Notes from the metalevel:
Introduction to algorithmic music composition .
London, UK: Taylor & Francis.

Theremin, L. S. (1924). Method of and appa-
ratus for the generation of sounds . U.S. Patent
No. 73,529. Washington, DC: U.S. Patent and
Trademark Office.

Tobler, H. (2004). CRML—Implementierung eines
adaptiven Audiosystems . Unpublished master's
thesis. Fachhochschule Hagenberg, Hagenberg,
Austria.

Verbiest, N., Cornelis, C., & Saeys, Y. (2009).
Valued constraint satisfaction problems applied to
functional harmony. In Proceedings of IFSA World
Congress EUSFLAT Conference (pp. 925-930).
Lisbon, Portugal: International Fuzzy Systems
Association, European Society for Fuzzy Logic
and Technology.

Williams, L. (2006). Music videogames: The
inception, progression and future of the music
videogame. In Proceedings of Audio Mostly 2006:
A Conference on Sound in Games (pp. 5-8). Piteå,
Sweden: Interactive Institute, Sonic Studio Piteå.