Celtic music is a broad grouping of music genres that evolved out of the folk music traditions of the Celtic people of Western Europe. It refers to both orally-transmitted traditional music and recorded music and the styles vary to include everything from "trad" music to a wide range of hybrids. Celtic music means two things mainly. First, it is the music of the people. Secondly, it refers to. Many notable Celtic musicians such as Alan Stivell and Paddy Moloney claim that the different Celtic music genres have a lot in common; these following melodic practices may be used across the different variants of Celtic Music: It is common for the melodic line to move up and down the primary chords in many Celtic songs. There are a number of possible reasons for this: Melodic variation can be introduced. Melodic variation is used in Celtic music by the pipes and harp, it is easier to anticipate the direction that the melody will take, so that harmony either composed or improvised can be introduced: cliched cadences that are essential for impromptu harmony are more formed.
The wider tonal intervals in some songs make it possible for stress accents within the poetic line to be more in keeping with the local Celtic accent. Across just one Celtic group. By more than one Celtic language population belonging to different Celtic groups; these two latter usage patterns may be remnants of widespread melodic practices. The term Celtic music is applied to the music of Ireland and Scotland because both lands have produced well-known distinctive styles which have genuine commonality and clear mutual influences; the definition is further complicated by the fact that Irish independence has allowed Ireland to promote'Celtic' music as a Irish product. However, these are modern geographical references to a people who share a common Celtic ancestry and a common musical heritage; these styles are known because of the importance of Irish and Scottish people in the English speaking world in the United States, where they had a profound impact on American music bluegrass and country music.
The music of Wales, the Isle of Man, Galicia and Asturias and Portugal are considered Celtic music, the tradition being strong in Brittany, where Celtic festivals large and small take place throughout the year, in Wales, where the ancient eisteddfod tradition has been revived and flourishes. Additionally, the musics of ethnically Celtic peoples abroad are vibrant in Canada and the United States. In Canada the provinces of Atlantic Canada are known for being a home of Celtic music, most notably on the islands of Newfoundland, Cape Breton and Prince Edward Island; the traditional music of Atlantic Canada is influenced by the Irish and Acadian ethnic makeup of much of the region's communities. In some parts of Atlantic Canada, such as Newfoundland, Celtic music is as or more popular than in the old country. Further, some older forms of Celtic music that are rare in Scotland and Ireland today, such as the practice of accompanying a fiddle with a piano, or the Gaelic spinning songs of Cape Breton remain common in the Maritimes.
Much of the music of this region is Celtic in nature, but originates in the local area and celebrates the sea, seafaring and other primary industries. In Celtic Music: A Complete Guide, June Skinner Sawyers acknowledges six Celtic nationalities divided into two groups according to their linguistic heritage; the Q-Celtic nationalities are the Irish and Manx peoples, while the P-Celtic groups are the Cornish and Welsh peoples. Musician Alan Stivell uses a similar dichotomy, between the Gaelic and the Brythonic branches, which differentiate "mostly by the extended range of Irish and Scottish melodies and the closed range of Breton and Welsh melodies, by the frequent use of the pure pentatonic scale in Gaelic music."There is tremendous variation between Celtic regions. Ireland, Scotland and Wales have living traditions of language and music, there has been a recent major revival of interest in Celtic heritage in Cornwall and the Isle of Man. Galicia has a Celtic language revival movement to revive the Q-Celtic Gallaic language used into Roman times.
Most of the Iberian Peninsula had a similar Celtic language in pre-Roman times. A Brythonic language was used in parts of Galicia and Asturias into early Medieval times brought by Britons fleeing the Anglo-Saxon invasions via Brittany; the Romance language spoken in Galicia, Galician is related to the Portuguese language used in Brazil and Portugal. Galician music is claimed to be Celtic; the same is true of the music of Asturias and that of Northern Portugal. Breton artist Alan Stivell was one of the earliest musicians to use the word Celtic and Keltia in his marketing materials, starting in the early 1960s as part of the worldwide folk music revival of that era with the term catching on with other artists worldwide. Today, the genre is well established and diverse. There are musical genres and styles specific to each Celtic country, due in part to the influence of individual song traditions and the characteristics of specific languages: Celtic traditional music Irish Music Music of Scotland Strathspeys are specific to Highland Scotland, for example, it has been hypothesized that they mimic the rhythms of the Scot
In the Groove (video game)
In the Groove is a rhythm game published by RedOctane and developed by Roxor Games, is the first game in the In the Groove series. The game was shown in an official beta-testing preview on July 9, 2004, was released in arcades around August 30, 2004; the game mechanics of In the Groove are similar to Konami's Dance Dance Revolution series. The game involves the player moving his or her feet to a set pattern, stepping in time to the general rhythm or beat of a song. During normal gameplay, arrows scroll upwards from the bottom of the screen and pass over flashing stationary arrows. Similar to DDR's gameplay, there are 4 flashing stationary arrows; when the scrolling arrows overlap the stationary ones, the player must step on the corresponding arrows on the dance platform. Longer arrows referred to as "holds" must be held down for their entire length for them to count. Hitting the arrows in time with the music increases the amount of health on the life bar, while failure to do so decreases it. If the life bar is depleted during gameplay, the player fails the song resulting in a game over.
Otherwise, the player is taken to the Results Screen, which rates the player's performance with a letter grade and a percentage score, among other statistics. The player may be given a chance to play again, depending on the settings of the particular machine. Stepcharts on In the Groove are a predefined sequence of arrows and other items mapped to the timing of a song, they vary depending on the song's difficulty. Stepcharts can sometimes contain 4 arrow combinations. Stepcharts can contain Mines. If a player is on an arrow when a mine passes through the step zone for that arrow, it will explode and health on the life bar will be lost. Modifiers change other items in a stepchart work, they include Speed Multipliers and Note. In The Groove offers different modes of gameplay, each with different rules on how songs are selected and played. Dance Mode is the default mode of play. In this mode, a player chooses a number of individual songs to play. After the songs are played, the game is over. Marathon Mode is an extended mode of play.
In this mode, a player chooses a predefined configuration of songs that may have a predefined set of modifiers in order to make the songs more challenging to play. Marathon courses have four songs, although some have five songs. Battle Mode is a specialized "versus" mode of play. Two players play three individual songs of the same difficulty. During the song executed steps fill up a player's "power bar"; when the power bar fills, a modifier is applied to the opposing player's side. A total of 76 songs were available in the home versions of In the Groove. Two home versions of In the Groove were released; the first was released for the PlayStation 2 on June 17, 2005, was published by RedOctane. The PS2 version contains the Novice mode carried over from In the Groove 2, Liquid Moon as a playable track, 4 songs from the sequel. A PC version was released on August 16, 2006, featuring 3 songs from the now-canceled In the Groove 3, widescreen aspect ratio support, Edit Mode. A patch named Song Pack A was released adding the songs and theme from In the Groove 2.
In the home version, as the player progresses in the game by clearing a certain number of songs, more modifiers, marathon courses, songs are unlocked. Konami filed a lawsuit against Roxor Games on an infringement of various rights on May 9, 2005 in the Eastern District of Texas, a district known for its bias for the plaintiff in patent cases. Additionally, they amended their complaint on July 1, 2005, to include the dance game "MC Groovz Dance Craze". Konami claims that Roxor has infringed their dancing game patent rights, but goes on to claim that the refitting of arcade cabinets "has been done in an infringing and unfair way". On July 10, 2005, Konami amended its complaint to include the In The Groove PS2 game and its publisher RedOctane. On July 25, 2005, Roxor Games filed a counterclaim against Konami. In the counterclaim, Roxor denies the claims in Konami's complaint, stating that'In The Groove' does not violate patent law and that claiming that Konami has engaged in unfair competition.
However, the lawsuit ended in a settlement. On October 18, 2006, Roxor announced that Konami had acquired the intellectual property rights to the In the Groove series as part of the settlement to this litigation; the musicians and developers of the game would go on to create Pump it Up Pro, a spinoff of the Pump it Up series featuring music and features from ITG. Dance pad Dance pad video games In the Groove 2 Roxor Games
Dance music is music composed to facilitate or accompany dancing. It can be either part of a larger musical arrangement. In terms of performance, the major categories are recorded dance music. While there exist attestations of the combination of dance and music in ancient times, the earliest Western dance music that we can still reproduce with a degree of certainty are the surviving medieval dances. In the Baroque period, the major dance styles were noble court dances. In the classical music era, the minuet was used as a third movement, although in this context it would not accompany any dancing; the waltz arose in the classical era. Both remained part of the romantic music period, which saw the rise of various other nationalistic dance forms like the barcarolle, ecossaise and polonaise. Modern popular dance music emerged from late 19th century's Western ballroom and social dance music. During the early 20th century, ballroom dancing gained popularity among the working class who attended public dance halls.
Dance music became enormously popular during the 1920s. In the 1930s, called the Swing era, Swing music was the popular dance music in America. In the 1950s, rock and roll became the popular dance music; the late 1960s saw the rise of R&B music. The rise of disco in the early 1970s led to dance music becoming popular with the public. By the late 1970s, electronic dance music was developing; this music, made using electronics, is a style of popular music played in nightclubs, radio stations and raves. Many subgenres of electronic dance music have evolved. Folk dance music is music accompanying traditional dance and may be contrasted with historical/classical, popular/commercial dance music. An example of folk dance music in the United States is the old-time music played at square dances and contra dances. While there exist attestations of the combination of dance and music in ancient times, the earliest Western dance music that we can still reproduce with a degree of certainty are the surviving medieval dances such as carols and the Estampie.
The earliest of these surviving dances are as old as Western staff-based music notation. The Renaissance dance music was written for instruments such as the lute, tabor and the sackbut. In the Baroque period, the major dance styles were noble court dances. Examples of dances include the French courante, sarabande and gigue. Collections of dances were collected together as dance suites. In the classical music era, the minuet was used as a third movement in four-movement non-vocal works such as sonatas, string quartets, symphonies, although in this context it would not accompany any dancing; the waltz arose in the classical era, as the minuet evolved into the scherzo. Both remained part of the romantic music period, which saw the rise of various other nationalistic dance forms like the barcarolle and polonaise. In the romantic music era, the growth and development of ballet extended the composition of dance music to a new height. Dance music was a part of opera. Modern popular dance music emerged from late 19th century's Western ballroom and social dance music.
Dance music works bear the name of the corresponding dance, e.g. waltzes, the tango, the bolero, the can-can, salsa, various kinds of jigs and the breakdown. Other dance forms include contradance, the merengue, the cha-cha-cha, it is difficult to know whether the name of the music came first or the name of the dance. Ballads are chosen for slow-dance routines; however ballads have been deemed as the opposite of dance music in terms of their tempo. The ballad was a type of dance as well. Ballads are still danced on the Faeroe Islands. "Dansband" is a term in Swedish for bands who play a kind of popular music, "dansbandsmusik", to partner dance to. These terms came into use around 1970, before that, many of the bands were classified as "pop groups"; this type of music is popular in the Nordic countries. Disco is a genre of dance music containing elements of funk, soul and salsa, it was most popular during the mid to late 1970s. It inspired the electronic dance music genre. By 1981, a new form of dance music was developing.
This music, made using electronics, is a style of popular music played in dance music nightclubs, radio stations and raves. During its gradual decline in the late 1970s, disco became influenced by computerization. Looping and segueing as found in disco continued to be used as creative techniques within trance music, techno music and house music. Electronic dance music experienced a boom after the proliferation of personal computers in the 1980s, manifest in the dance element of Tony Wilson's Haçienda scene and London clubs like Delirium, The Trip, Shoom; the ongoing influence of Shoom can be seen in its 25th anniversary party, held at Cable Nightclub on 8 December 2012, which sold out in four days. The scene expanded to the Summer Of Love in Ibiza, which became the European capital of house and trance. Clubs like Sundissential and Manumission became househo
Trance is a genre of electronic music that emerged from the British new-age music scene and the early 1990s German techno and hardcore scenes. At the same time trance music was developing in Europe. Trance music is characterized by a tempo lying between 110–150 bpm, repeating melodic phrases, a musical form that distinctly builds tension and elements throughout a track culminating in 1 to 2 "peaks" or "drops". Although trance is a genre of its own, it liberally incorporates influences from other musical styles such as techno, pop, chill-out, classical music, tech house and film music. A trance is a state of hypnotism and heightened consciousness; this is portrayed in trance music by the mixing of layers with distinctly foreshadowed build-up and release. A common characteristic of trance music is a mid-song climax followed by a soft breakdown disposing of beats and percussion leaving the melody or atmospherics to stand alone for an extended period before building up again. Trance tracks are lengthy to allow for such progression and have sufficiently sparse opening and closing sections to facilitate mixing by DJs.
Trance is instrumental, although vocals can be mixed in: they are performed by mezzo-soprano to soprano female soloists without a traditional verse/chorus structure. Structured vocal form in trance music forms the basis of the vocal trance subgenre, described as "grand and operatic" and "ethereal female leads floating amongst the synths". However, male singers, such as Jonathan Mendelsohn, are featured; the "Trance" name may refer to an induced emotional feeling, euphoria, chills, or uplifting rush that listeners claim to experience, or it may indicate an actual trance-like state the earliest forms of this music attempted to emulate in the 1990s before the genre's focus changed. Another possible antecedent is Yuzo Koshiro and Motohiro Kawashima's electronic soundtracks for the Streets of Rage series of video games from 1991 to 1994, it was promoted by the well-known UK club-night "Megatripolis" whose scene catapulted it to international fame. Examples of early trance releases include but are not limited to KLF's 1988 release'What Time Is Love', German duo Jam & Spoon's 1992 12" Single remix of the 1990 song "The Age Of Love", German duo Dance 2 Trance's 1990 track "We Came in Peace".
The writer Bom Coen traces the roots of trance to Paul van Dyk's 1993 remix of Humate's "Love Stimulation". However, Van Dyk's trance origins can be traced further back to his work with Visions of Shiva, being the first tracks he released In subsequent years, one genre, vocal trance, arose as the combination of progressive elements and pop music, the development of another subgenre, epic trance, finds some of its origins in classical music, with film music being influential. Trance was arguably at its commercial peak in the second part of 1990s and early 2000s. Classic trance employs a 4/4 time signature, a tempo of 125 to 150 BPM, 32 beat phrases and is somewhat faster than house music. A kick drum is placed on every downbeat and a regular open hi-hat is placed on the upbeat or every 1/8th division of the bar. Extra percussive elements are added, major transitions, builds or climaxes are foreshadowed by lengthy "snare rolls"—a quick succession of snare drum hits that build in velocity and volume towards the end of a measure or phrase.
Rapid arpeggios and minor keys are common features of Trance, the latter being universal. Trance tracks use one central "hook", or melody, which runs through the entire song, repeating at intervals anywhere between 2 beats and 32 bars, in addition to harmonies and motifs in different timbres from the central melody. Instruments are removed every 4, 8, 16, or 32 bars. In the section before the breakdown, the lead motif is introduced in a sliced up and simplified form, to give the audience a "taste" of what they will hear after the breakdown; the final climax is "a culmination of the first part of the track mixed with the main melodic reprise". As is the case with many dance music tracks, trance tracks are built with sparser intros and outros in order to enable DJs to blend them together immediately. More recent forms of trance music incorporate other styles and elements of electronic music such as electro and progressive house into its production, it emphasizes harsher basslines and drum beats which decrease the importance of offbeats and focus on a four on the floor stylistic house drum pattern.
The bpm of more recent styles tends to be on par with house music at 120 to 135 beats per minute. However, unlike house music, recent forms of trance stay true to their melodic breakdowns and longer transitions. Trance music is broken into a number of subgenres including acid trance, classic trance, hard trance, progressive trance, uplifting trance. Uplifting trance is known as "anthem trance", "epic trance", "commercial trance", "stadium trance", or "euphoric trance", has been influenced by classical music in the 1990s and 2000s by leading artists such as Ferry Corsten, Armin Van Buuren, Tiësto, Rank 1 and at present with the development of the subgenre "orchestral uplifting trance" or "uplifting trance with symphonic orchestra" by such artists as Andy Blueman, Ciro Visone, Arctic Moon, Sergey Nevone & Simon O'Shine, among others. Related to Uplifting Trance is Euro-trance, which has become a general term for a wide variety of commercialized European dance music. Several subgenres are crossovers with other major genres of electronic music.
For instance, Tech trance is a mixture of trance and tech
Switzerland the Swiss Confederation, is a country situated in western and southern Europe. It consists of 26 cantons, the city of Bern is the seat of the federal authorities; the sovereign state is a federal republic bordered by Italy to the south, France to the west, Germany to the north, Austria and Liechtenstein to the east. Switzerland is a landlocked country geographically divided between the Alps, the Swiss Plateau and the Jura, spanning a total area of 41,285 km2. While the Alps occupy the greater part of the territory, the Swiss population of 8.5 million people is concentrated on the plateau, where the largest cities are to be found: among them are the two global cities and economic centres Zürich and Geneva. The establishment of the Old Swiss Confederacy dates to the late medieval period, resulting from a series of military successes against Austria and Burgundy. Swiss independence from the Holy Roman Empire was formally recognized in the Peace of Westphalia in 1648; the country has a history of armed neutrality going back to the Reformation.
It pursues an active foreign policy and is involved in peace-building processes around the world. In addition to being the birthplace of the Red Cross, Switzerland is home to numerous international organisations, including the second largest UN office. On the European level, it is a founding member of the European Free Trade Association, but notably not part of the European Union, the European Economic Area or the Eurozone. However, it participates in the Schengen Area and the European Single Market through bilateral treaties. Spanning the intersection of Germanic and Romance Europe, Switzerland comprises four main linguistic and cultural regions: German, French and Romansh. Although the majority of the population are German-speaking, Swiss national identity is rooted in a common historical background, shared values such as federalism and direct democracy, Alpine symbolism. Due to its linguistic diversity, Switzerland is known by a variety of native names: Schweiz. On coins and stamps, the Latin name – shortened to "Helvetia" – is used instead of the four national languages.
Switzerland is one of the most developed countries in the world, with the highest nominal wealth per adult and the eighth-highest per capita gross domestic product according to the IMF. Switzerland ranks at or near the top globally in several metrics of national performance, including government transparency, civil liberties, quality of life, economic competitiveness and human development. Zürich and Basel have all three been ranked among the top ten cities in the world in terms of quality of life, with the first ranked second globally, according to Mercer in 2018; the English name Switzerland is a compound containing Switzer, an obsolete term for the Swiss, in use during the 16th to 19th centuries. The English adjective Swiss is a loan from French Suisse in use since the 16th century; the name Switzer is from the Alemannic Schwiizer, in origin an inhabitant of Schwyz and its associated territory, one of the Waldstätten cantons which formed the nucleus of the Old Swiss Confederacy. The Swiss began to adopt the name for themselves after the Swabian War of 1499, used alongside the term for "Confederates", used since the 14th century.
The data code for Switzerland, CH, is derived from Latin Confoederatio Helvetica. The toponym Schwyz itself was first attested in 972, as Old High German Suittes perhaps related to swedan ‘to burn’, referring to the area of forest, burned and cleared to build; the name was extended to the area dominated by the canton, after the Swabian War of 1499 came to be used for the entire Confederation. The Swiss German name of the country, Schwiiz, is homophonous to that of the canton and the settlement, but distinguished by the use of the definite article; the Latin name Confoederatio Helvetica was neologized and introduced after the formation of the federal state in 1848, harking back to the Napoleonic Helvetic Republic, appearing on coins from 1879, inscribed on the Federal Palace in 1902 and after 1948 used in the official seal.. Helvetica is derived from the Helvetii, a Gaulish tribe living on the Swiss plateau before the Roman era. Helvetia appears as a national personification of the Swiss confederacy in the 17th century with a 1672 play by Johann Caspar Weissenbach.
Switzerland has existed as a state in its present form since the adoption of the Swiss Federal Constitution in 1848. The precursors of Switzerland established a protective alliance at the end of the 13th century, forming a loose confederation of states which persisted for centuries; the oldest traces of hominid existence in Switzerland date back about 150,000 years. The oldest known farming settlements in Switzerland, which were found at Gächlingen, have been dated to around 5300 BC; the earliest known cultural tribes of the area were members of the Hallstatt and La Tène cultures, named after the archaeological site of La Tène on the north side of Lake Neuchâtel. La Tène culture developed and flourished during the late Iron Age from around 450 BC under some influence from the Gree
Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, so on, electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, the electric guitar, which are made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin and computer can produce electronic sounds; the first electronic devices for performing music were developed at the end of the 19th century, shortly afterward Italian futurists explored sounds that had not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers to compose music. Algorithmic composition with computers was first demonstrated in the 1950s. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry, Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, turntables, through the emergence of genres such as disco, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 were popularized, a group of musicians and music merchants developed the Musical Instrument Digital Interface. Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.
At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances; the audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of orchestral instruments, it achieved viable public interest and made commercial progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments, he predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music. Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery.
They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises. Developments of the vacuum tube led to electronic instruments that were smaller and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them, they were used within orchestras, most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes; the instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.
Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, by the 1920s comp
Music video game
A music video game commonly known as a music game, is a video game where the gameplay is meaningfully and almost oriented around the player's interactions with a musical score or individual songs. Music video games may take a variety of forms and are grouped with puzzle games due to their common use of "rhythmically generated puzzles". Music video games are distinct from purely audio games in that they feature a visual feedback, to lead the player through the game's soundtrack, although eidetic music games can fall under both categories; as the genre has gained popularity and expanded, music video games have demonstrated the ability to support a range of different styles of gameplay. While the oldest form of gameplay is eidetic in nature, the most common form of music game today is rhythmic in nature and has been termed the "rhythm game". Other common modes of gameplay in music video games include the sandbox style that encourages a free-form gameplay approach and the recent hybrid style that combines musical elements with more traditional genres such as the shooter or puzzle game.
Music video games are commonly included as minigames in party games. Music memory games test a player's musical memory. Sight-reading music games take a variety of forms depending upon which aspect of the music serves as the focus of gameplay. Although the majority of such games emphasize rhythm as the major gameplay-determinative musical element, other elements of musical notation and development such as pitch and volume serve as points of emphasis in a number of games. In all of these game-forms the goal of the player is to provide a direct injective response to each prompt from the game. Rhythm-based games range from dance games such as Dance Dance Revolution and other music-based games such as Donkey Konga These games challenge the player to press the right button at the right time; the popularity of these rhythm-based games has created a market for specialty input devices such as dance mats and electronic drums. Early games include PaRappa the Rapper. Freeform music games, characterized by games such as SimTunes, are those in which the creation of music takes predominance over gameplay and as such these games are more similar to non-game music synthesizers such as the Tenori-on.
Free form music games occupy a position somewhere between generative hybrid music games and non-game utilities dependent upon the degree to which their gameplay relies upon a driving underlying plotline. This form of music game is analogous to sandbox games in the realm of non-musical games and the term "sandbox" has been used to describe this form of gameplay. An offshoot of the serious games initiative, hybrid forms of music video games such as Otocky and Pteranodon are characterized by substantial and meaningful interactions between a player and the music in a game that ostensibly belongs to a non-musical genre. Generative-form hybrid music video games make the concert music resulting from the interaction between performer and in-game dynamics a goal of the game. To achieve this the non-musical genres to which these games give the outward appearance of belonging are characterized by simple, straightforward dynamics. In Rez or Free the Beat, for example, the game takes the form of a simple rail shooter.
The major difference between the generative and reactive forms of hybrid music video games is that games of the generative form allow for the creation of music as determined by gameplay whereas those of the reactive form employ music to determine gameplay. Reactive-form hybrid music video games such as Pteranodon, Rhyme Rider Kerorican, or iS – internal section focus upon the underlying genre such that the music serves to determine the dynamics of the non-musical components of the game. In these games the player takes substantial cues from the soundtrack to devise his gameplay. Comparable reactive-form music video games such as Vib-Ribbon, Audiosurf, or Dance Factory lack a differentiable underlying genre and as such cannot be considered hybrid music games. Interactive music video games for real-time generation in live performance. Games may embed non-linear interactive manuscript for trained musician/performer incorporating the traditional element of public spectator appeal. Video game music List of music video games Media related to Music video games at Wikimedia Commons