Besides her work in video games like world of cansIrish composer and conductor Eimear Noone made history in 2020 When she became the first woman to lead an orchestra at the Academy Awards. No one is surprised to see the gap between classical music and video games narrowing. “A lot of game authors come from the classic world, so it only makes sense that we factor that into everything we do,” she says.
“It is very exciting for me as an orchestra musician to see how many people are experiencing orchestral music as live music and music through their game consoles. I have had the honor to meet tens of thousands of video game fans in person, and people will say to me, ‘Oh, my favorite song is from world of cansAnd I’ll say, “Does that mean your favorite band is the orchestra?” And they’ll say, “Yes, maybe!”
While land of silence Not a video game production, Bocker hasn’t eschewed the video game aesthetic to make it appealing to a modern-day audience, not least when it comes to Shimomura’s music. “NS Merignon: The Land of SilenceThis was the direction I wanted to go. Memorable, accessible and engaging melodies for all themes of characters, town, etc.”
There is also an emphasis on education in land of silence, similar to how Peter and the wolf Introduce the children to the different musical instruments in the orchestra. in a land of silenceCharacters have their own themes and tools. Her hero, the orphan Miro, is represented by the cello, her dog, Mako, and the marimba, and her opponent, Scissor, is represented by the clarinet. Booker hopes this will inspire an audience with questions about specific machines, but is keen to stress that the focus is always on entertainment.
“Of course, the educational part is important, but we don’t want to make it too obvious. My main interest is to entertain people and, at best, show them how great an orchestra can be, what great sounds can be made, and how entertaining the whole experience can be.”
While many in the classical world see the benefits of video game intersectionality, there is still a feeling among some directors and classical music specialists that video game compositions do not hold up to the classic repertoire. Grammy Award-winning producer and director Arne Roth thinks these opinions are only holding her back.
“Why these walls? This is not the way people live their lives. I understand and will regret the loss of the classical foundations and structure, so it is important to keep that, but it is also important to change and grow,” he says.
Roth believes that many who attend video game parties will embrace great classical music when they hear it; The challenge is to get them to just hear it, so they can connect the dots between their favorite video game authors and what inspired them.