Unlimited Replays occupies a significant place in game music scholarship. It is the first book devoted to ever-intriguing instances of classical music in video games, and through addressing that topic, it seeks to build a bridge from ludomusicology toward more longstanding fields of enquiry. The author, William Gibbons, is concerned not only with what classical music does in games but also with broader questions of cultural value and meaning. The book's narrative thus privileges cases in which the combination of classical music and video games engages (knowingly or not) with common understandings of those forms as, respectively, "art" and "entertainment." Within this remit, the range of examples covered is admirably broad, from uses of classical music in video games on conventional systems (new and old, familiar and unfamiliar) to mobile apps that "gamify" classical works. Consideration is also given to the journey of original game music onto classical concert-hall stages and radio airwaves. The book includes ample reference to other work on games and game music, as well as broader musicological studies, and is written in an accessible and often entertaining style across eleven short main chapters.The starting point for the book's exploration of "high" versus "low" is an assertion that "combining classical music with video games involves a kind of transgression, a crossing of boundaries that begs for explanation and interpretation" (). Gibbons highlights the arbitrary nature of the opposing values commonly assigned to classical music and video games, and his examples of their combination serve to further expose "the art in the game, and the game in the art" (). He concludes, however, that long-held conceptions are unlikely to disappear in the foreseeable future, not least because of vested interests on both sides. That classical music benefits from its high-art status is clear, but more intriguing is the idea that,
Night & Dreams, a large-scale song cycle. The expansion of Preisner's nonfilm output since Requiem -with 2015's Ten Pieces for Orchestra the most recent additionhas coincided with a relatively quiet spell in his film-scoring career, with only a handful of assignments having been completed in the last decade, but it is as a film composer that Preisner remains most famous. 2 In both 1999 and 2007, it was his music for film -and particularly for the films of Kieślowski, with whom he collaborated regularly from 1985's No End to 1994's Three Colours: Red, the director's final film -on which the second halves of the concerts focused.
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