Abstract In this paper several meaningful audio icons of classic arcade games such as Pong, Donkey Kong, Mario World and Pac-Man are analyzed, using the PRAAT software for speech analysis and musical theory. The analysis results are used to describe how these examples of best practice sound design obtain their meaning in the player's perception. Some aspects can be related to the use of tonal hierarchy (e.g. Donkey Kong and Mario World) which is a western culture related aspect of musical meaning. Other aspects are related to universal expressions of meaning such as the theory of misattribution, prosody, vocalization and cross-modal perceptions such as brightness and the uncanny valley hypothesis. Recent studies in the field of cognitive neuroscience support the universal and meaningful potential of all these aspects. The relationship between language related prosody, vocalization and phonology, and music seems to be an especially successful design principle for universally meaningful music icons in game sound design.
DOCUMENT
Functional Magnetic Resonance Imaging (fMRI) was used to study the activation of cerebral motor networks during auditory perception of music in professional keyboard musicians (n=12). The activation paradigm implied that subjects listened to two-part polyphonic music, while either critically appraising the performance or imagining they were performing themselves. Two-part polyphonic audition and bimanual motor imagery circumvented a hemisphere bias associated with the convention of playing the melody with the right hand. Both tasks activated ventral premotor and auditory cortices, bilaterally, and the right anterior parietal cortex, when contrasted to 12 musically unskilled controls. Although left ventral premotor activation was increased during imagery (compared to judgment), bilateral dorsal premotor and right posterior-superior parietal activations were quite unique to motor imagery. The latter suggests that musicians not only recruited their manual motor repertoire but also performed a spatial transformation from the vertically perceived pitch axis (high and low sound) to the horizontal axis of the keyboard. Imagery-specific activations in controls were seen in left dorsal parietal-premotor and supplementary motor cortices. Although these activations were less strong compared to musicians, this overlapping distribution indicated the recruitment of a general 'mirror-neuron' circuitry. These two levels of sensori-motor transformations point towards common principles by which the brain organizes audition-driven music performance and visually guided task performance.
DOCUMENT
Vocal effects - also called extreme or extended vocal techniques - with the intention to sound hoarse or rough are widely used as part of many genres and styles of singing, yet scarcely documented in research. Physiological studies detail the involvement of supraglottic structures for the production of vocal effects, yet the acoustic impact of such involvement has not been documented systematically across phonation types.
LINK
