Music Video Games: Performance, Politics, and Play (Approaches to Digital Game Studies)

## Glossary of Music and Gaming Terms 304 About the Contributors 308 Author Index 312 Game Index 316 General Index 320 I am extremely fortunate to have received the support and encouragement of many people throughout the completion of this project. First and foremost, I wish to thank the contributors for sharing their great ideas and insight with me and for the time and hard work they have invested in this collection; of course, this project would not have been possible without them. I also owe a debt of gratitude to the series editors-Gerald Voorhees, Josh Call, and Katie Whitlockthe series review board, and other anonymous reviewers for their encouragement, constructive criticism, and diligent review of the manuscript and its preceding drafts. I especially want to thank Katie Gallof, Mary Al-Sayed, Michelle Chen, Balaji Kasirajan, and everyone at Bloomsbury for their assistance in making this dream a reality. I took up my position at Howard University as I began working on this project, and I would like to thank all of my colleagues in the School of Communications, especially those in the Department of Media, Journalism, and Film, for providing such an stimulating and collegial space in which to work on this project. I would also like to thank the organizers and participants of the 2nd Annual North American Conference on Video Game Music in Ft. Worth, Texas, its European predecessor, hosted annually by the Ludomusicology Research Group, and the participants of the Society for Music Theory's Film and Multimedia Special Interest Group's special session on video games. Although there are far too many colleagues and friends to thank by name, I want to specifically thank my family and Music Video Games takes a look (and listen) at the popular genre of music games - video games in which music is at the forefront of player interaction and gameplay. With chapters on a wide variety of music games, ranging from well-known console games such as Guitar Hero and Rock Band to new, emerging games for smartphones and tablets, scholars from diverse disciplines and backgrounds discuss the history, development, and cultural impact of music games. Each chapter investigates important themes surrounding the ways in which we play music and play with music in video games. Starting with the precursors to music games - including Simon , the hand-held electronic music game from the 1980s, Michael Austin's collection goes on to discuss issues in musicianship and performance, authenticity and "selling out, ? and composing, creating, and learning music with video games. Including a glossary and detailed indices, Austin and his team shine a much needed light on the often overlooked subject of music video games." Music Video Games takes a look (and listen) at the popular genre of music games - video games in which music is at the forefront of player interaction and gameplay. Each chapters investigates important themes surrounding the ways in which we play (and play with) music in video games. Michael Austin's collection addresses issues in musicianship and performance, authenticity and "selling out," and composing, creating and learning music with video games. Including a glossary and detailed indices, Austin and his team shine a much needed light on the often overlooked subject of music video games