Embasado no processo artístico, este estudo reflete e descreve a preparação dos arranjos e de um recital de músicas de videogames como repertório de concerto. Os referenciais teóricos são discussões a respeito da música nos videogames, tecnologias de áudio referentes, discussões sobre pesquisa artística, textos sobre performance e sobre o concerto como evento. Os documentos desenvolvidos pelo autor durante o processo são partituras de arranjos autorais, cartazes e logomarcas que desenhei. Hoje em dia, as músicas de videogames não mais estão restritas aos jogos, constituem um repertorio que vem sendo interpretado por orquestras e solistas em diversos lugares do mundo. De um ruído que pretendia ilustrar o som da batida de uma bolinha no jogo Pong (1972) aos materiais sinfônicos presentes nos jogos de hoje, podemos perceber uma história de evoluções tecnológicas, demandas de mercado, práticas interpretativas e a possibilidade de uma nova janela a ser aberta no campo de estudos da música. Neste trabalho, apresento o relato sobre as diferentes etapas para a preparação de um concerto com músicas de videogame, envolvendo a escolha do repertório, preparação dos arranjos, realização dos cartazes para divulgação e as decisões interpretativas. / Based on the artistic process, this research reflects and describes the preparation of arrangements and a recital of music from videogames as a concert repertoire. The theoretical references are discussions about music in videogames, related audio technologies, discussions about artistic research, texts about performance and about the concert as an event. The documents developed by the author during the process are scores of arrangements, posters and logos that I drew. Nowadays, video game music is no longer restricted to games, it is a repertoire that has been played by orchestras and soloists in different parts of the world. From a noise that was intended to illustrate the sound of the beating ball in the Pong (1972) game to the symphonic materials present in the games of today, we can perceive a history of technological evolutions, market demands, interpretive practices and the possibility of a new window to be open in the field of music studies. In this work, I present the report on the different stages for the preparation of a concert with video game music, involving the choice of repertoire, preparation of the arrangements, realization of posters for dissemination and interpretative decisions.

This is a study of how game design has influenced my artistic process as a music producer fora video game called Sang: The Desert Blade. The artistic practice is used to explore a conceptin game design called ludonarrative. The experiences gathered from this exploration arepresented with examples of music that have been created and implemented for the gameduring this study. The music examples are contextualized together with video documentationfrom my creative process and video recordings of the game. The study concludes that videogame music is directly interconnected with game design and its aesthetics is directly affectedby the degree to which a music producer is included in the development team. The study alsoshows how unpredictability is a fundamental part of game design and suggests how it can beexplored in future artistic research of video game music. / Det här är en studie om hur speldesign har påverkat min konstnärliga process sommusikproducent för ett dataspel som heter Sang: The Desert Blade. Den konstnärligapraktiken används för att undersöka ett koncept inom speldesign som kallas ludonarrativ.Erfarenheterna från undersökningen presenteras genom musikexempel som har skapats ochimplementerats i spelet under studien. Musikexemplen kontextualiseras tillsammans medvideodokumentation från min kreativa process och med videoinspelningar från spelet. Studiendrar slutsatsen att dataspelsmusik är direkt sammanlänkad med speldesign och dess estetik ärdirekt påverkad av den grad som en musikproducent involveras i spelets utvecklingsteam.Studien visar också hur oförutsägbarhet är en fundamental del av speldesign och föreslår hurdet kan undersökas i framtida konstnärlig forskning av dataspelsmusik.

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Les technologies ont façonné et façonnent les méthodes de travail des compositeurs de musique à l’image : en termes de communications, de méthodologie et au niveau des compétences requises. De La Planète Interdite au Covid-19, nous examinerons comment les méthodologies de travail des compositeurs de musique à l’image ont changé au fil des ans. / Technologies have shaped, and still do so, the way music composers for screen work: communication-wise, in their creative workflow and in their skill sets. From Forbidden Planet to Covid-19, we will examine how and in what way the workflows of music composers have changed throughout the years.