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It examines open-world game soundscapes as sociocultural artefacts and proposes a model that separates a soundscape’s constitutive musical components into diegetic categories via a tripartite method. 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in the study?",{"text":72,"@type":64},"It serves as a demonstration case because it is a leading open-world title with substantial musical content, showing that the proposed model better reflects the technical, aesthetic, and sociocultural sophistication of the medium.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},202227,1788543741,{"code":4,"msg":82,"data":83},"success",[84,88,92,96,101,106,111,115,120,123,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & 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\nBarnabas Gregory Smith  \nThesis submitted in fulfilment of the requirements for the degree of  \nDoctor of Philosophy  \nElder Conservatorium of Music Faculty of Arts The University of Adelaide May 2019  \nABSTRACT  \nThe global video game industry has in part achieved its ubiquitous cultural influence through the creation of increasingly realistic gameworlds. Of these, contemporary open-world games offer vast internal environments presenting complex narrative constructs and ever-higher production values, including music content. Research into these games has typically ranged from their characteristic technical design and storytelling attributes, to ethnographic studies of their gameworlds, through to commercially based evaluations of the games’ soundtrack content. Breaking new ground by merging these disparate lines of enquiry into a cohesive whole, the purpose of this study is to examine the music of open-world game soundscapes as sociocultural artefacts. This study seeks to offer a foundation for explaining the musical functions causal to the popularity of these games according to a research model that determines and separates the constitutive musical components ofa gameworld’s soundscape into diegetic categories. These components are examined according to a tripartite model with a methodological basis in game music design principles, adopting a gameworld as a virtual ethnography fieldsite, and studies of game music in culture.  \nThis study takes Grand Theft Auto V as its focus in demonstrating an application of the proposed model. As an open-world game grossing more than any other form of media and featuring more musical content than any previous title of its series, it is shown that the proposed model does greater intellectual justice to the technical, aesthetic, and sociocultural sophistication of this artefact. The development and application of the proposed research model enables a shift of analytical approach in ludomusicology from an outside-in perspective to one of an inside-out nature. In addition to its application to other games, the offered model affords theorists and game designers a valuable analytical and conceptual tool to see the virtual music of a game as anchored in the actual world.  \nDECLARATION  \nI certify that this work contains no material which has been accepted for the award of anyother degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used in a submission in my name, for anyother degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree.  \nI give permission for the digital version of my thesis to be made available on the web, via the University’s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time.  \nI acknowledge the support I have received for my research through the provision of an Australian Government Research Training Program Scholarship.  \nSigned:  \nDate:  \nACKNOWLEDGEMENTS  \nFirstly, my thanks must go to my Principal Supervisor Professor Mark Carroll, whose ability to craft a theoretical argument is likely unparalleled, and to my Co-Supervisor Dr Luke Harrald, whose experience in games stimulated perspectives that were initially beyond me.  \nThank you Associate Professor Kimi Coaldrake for your exceptional stewardship over my candidature, and thank you Professor Charles Bodman Rae for your invaluable counsel.  \nTo my editor, Matthew Sidebotham,","cbCaiv8dTE70CvXs","https://ap.wps.com/l/cbCaiv8dTE70CvXs","pdf",3590863,246,"English","# Abstract\n# Declaration\n# Acknowledgements\n# Table of Contents\n# List Of Figures\n# Quotations","[{\"question\":\"What is the purpose of this thesis?\",\"answer\":\"To examine the music of open-world game soundscapes as sociocultural artefacts and to build a research model that identifies and separates the musical components of a gameworld’s soundscape into diegetic categories.\"},{\"question\":\"How does the thesis structure its research method?\",\"answer\":\"It applies a tripartite model grounded in game music design principles, using the gameworld as a virtual ethnography fieldsite, and drawing on studies of game music in culture.\"},{\"question\":\"Why is Grand Theft Auto V used in the study?\",\"answer\":\"It serves as a demonstration case because it is a leading open-world title with substantial musical content, showing that the proposed model better reflects the technical, aesthetic, and sociocultural sophistication of the medium.\"}]","Making the Virtual Actual - A Research Model to Understand Music of Contemporary Open-World Video Games | PDF",620]