Remediating Sound: Repeatable Culture, YouTube and Music Nicola Dibben, Lisa Perrott, Lisa Perrott, Nabeel Zuberi, Joe Jackson, et al. Remediating Sound Repeatable Culture Youtube and Music, 2023 Remediating Sound studies the phenomena of remixing, mashup and recomposition: forms of reuse and sampling that have come to characterise much of YouTube's audiovisual content. Through collaborative composition, collage and cover songs to reaction videos and political activism , users from diverse backgrounds have embraced the democratised space of YouTube to open up new and innovative forms of sonic creativity and push the boundaries of audiovisual possibilities. Observing the reciprocal flow of influence that runs between various online platforms, 12 chapters position YouTube as a central hub for the exploration of digital sound, music and the moving image. With special focus on aspects of networked creativity that remain overlooked in contemporary scholarship, including library music, memetic media, artificial intelligence, the sonic arts and music fandom, this volume offers interdisciplinary insight into contemporary audiovisual culture.
Introduction: ‘I feel like I’ve heard it before’: The Audiovisual Echoes of YouTube Remediating Sound Repeatable Culture Youtube and Music, 2023
A (Silent) Game of Words Notes on Jeremy Soule's Accusations and the Elder Scrolls Online Community Joana Freitas Journal of Sound and Music in Games, 2022 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 several fronts. From questioning the victims’ credibility to taking a neutral position while waiting for further development, gamers and fans made use of digital platforms to express either concern, astonishment, or doubt; these reactions point to the significant symbolic capital that Soule possesses in the context of video game music. The Elder Scrolls franchise, and in particular Skyrim, is highly recognized for its soundtracks, and this franchise has given rise to the largest mods community to date. In previous research, I examined this mods community in order to consider music and sound in relation to immersion and modification in Elder Scrolls games. Since the data collected in that earlier research was limited to a time span until 2017, the recent developments concerning composer Jeremy Soule weren’t addressed in that earlier setting. However, these allegations were part of a larger phenomenon of awareness and public exposure of negative and abusive practices in several labor contexts in the video game industry, shedding some light on a much-needed discussion about sexism and mistreatment toward women and nonbinary professionals in these fields and raising some pertinent questions concerning users’ feedback and engagement. This article aims to discuss the possible impacts these accusations had on the relationship between Soule’s music and users in the mods community, including users’ overviews of their own personal affective engagement with the games, thus verifying the deep connection between music, interactivity, authorship and gamer identity.
Kill the Orchestra on Music, Mods, and Immersion in the Elder Scrolls on the Nexus Mods Platform Joana Freitas Journal of Sound and Music in Games, 2021 In the age of participatory and convergence paradigms, video game music has its own networked culture with cybercommunities that discuss, share, and create content, thus opening up a creative space for artistic activities in a constant digital flow. Music composition and production is one of these activities, with files made available on several platforms such as SoundCloud and YouTube, specifically in the format of modification files (or mods). Building on research for a master’s dissertation, this article examines a new model of online artistic production in the form of the circulation of musical mods that were composed and shared on the Nexus Mods platform for the The Elder Scrolls IV: Oblivion and The Elder Scrolls V: Skyrim video games. These mods add new musical material that is similar to the existing soundtrack of both titles, but the majority of the files in this platform’s audio category are related only to sounds, not to musical composition. By using titles such as “better sounds” or “immersive sounds” to describe their additions, many modders aim to give other gamers a more immersive experience in the game(s). In this case, immersive relates not only to the musical style and sound quality of the aural effects but also a plausible construction of the reality in which the gamers live, play, and negotiate meaning relating to their own social context. Intersecting “playbour,” fandom, aural immersion, and audiovisual literacy, these audio modders work on adding new layers to the soundscapes and environments of the virtual worlds presented in the two games. The modders regard immersion as a key aspect of design and playability, and they contribute audio material to enable their social capital and visibility on online platforms.
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MOST CITED SCHOLAR PUBLICATIONS
YouTube and Music H Rogers, JF Porfírio, J Freitas Bloomsbury Publishing , 2023 2023 Citations: 13
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The music is the only thing you don’t have to mod’: The musical composition in modification files for video games J Freitas MA diss., NOVA University Lisbon FCSH , 2017 2017 Citations: 6
Kill the Orchestra On Music, Mods, and Immersion in The Elder Scrolls on the Nexus Mods Platform J Freitas Journal of Sound and Music in Games 2 (2), 22-41 , 2021 2021 Citations: 4
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" So medieval like, so gentle, so perfect”: as categorias musicais da banda sonora do videojogo The Elder Scrolls IV: Oblivion J Freitas Revista de Ciências Da Computação , 2017 2017 Citations: 3
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Only People with Good Imagination Usually Listens to This Kind of Music’: On the Convergence of Musical Tags, Video Games and YouTube in the Epic Genre.” J Freitas Remediating Sound: Repeatable Culture, YouTube and Music, 145-164 , 2023 2023 Citations: 1
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