Written in a conversational style, any reader, even one without formal music training, will find value in this interesting book. Phillips begins with why you would want to write game music, and ends with how to act like a business and find work. This is an excellent book for reading and reference.

The chapter “A Composer’s Creative Skillset” discusses the paths of musical education and introduces tone color, the qualities that distinguish one sound from another and the characteristics that allow a sound to be disassembled and reassembled by the game’s audio system. The author then introduces additional concepts, such as the Shepard scale and aleatoric music.

Music deepens the play experience and aids immersion in many ways, including emotional reassurance and the player’s time perception. Total immersion requires attention and empathy, both of which may be triggered or enhanced by music. A chapter is devoted to themes with brief musical examples from contemporary and classical sources. Certain musical genres are best associated with particular game genres. This in turn recognizes the target market and demographic of the likely player of a particular game. Scholarly research identifies player inclination and impressions, as well as a variety of video game genres. Music impacts the state of mind, creates a world, and sets the pace. Music may be an audience to the player’s actions. It may also create an instantly recognizable game brand.

Compositional prerequisites include video of the game being played, as well as design documents, script, art, and storyboards. It is essential that all the individuals involved in the game’s creation agree on the appropriate musical style. The composer is part of a development team that includes an audio director and producer. Phillips provides an excellent discussion of how the musical needs progress, and the musical and technical aspects of linear development. The music may contain resequencing and layered elements. The technical tools to achieve this result and the types of software capabilities that the composer will require are introduced. Finally, the composer needs to cultivate her contacts and develop a thick skin.

Phillips provides an excellent introductory look at a complex and evolving artistic field. This is not a music and computer science (CS) degree in 270 pages, but a conversation with a friend who quite logically lays out the field. An accompanying CD with examples referenced to the text is the only addition that I would suggest. Anyone connected with gaming will enjoy the result.

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