Composition thesis about interactive music for videogames

1. Composizione musicale interattiva.
Un esempio pratico.
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2. Indice
Parte 1 - Il videogioco come
mezzo di espressione
2 Sonoro interattivo e adattativo
Parte 2 - Audio dinamico
3 Le categorie di interventi musicali
3.1 Interventi principali
3.2 Ambient tracks
3.3 Stinger
4 La non linearità nei videogiochi
4.1 La non linearità nell’audio
4.2 Le transizioni
5 Dieci metodi di variazione nella
musica dinamica
5.1 Variazioni di tempo
5.2 Variazioni di pitch e trasposizioni
5.3 Variazioni di ritmo e metrica
5.4 Variazioni di volume
5.5 Variazioni di DSP
5.6 Variazioni di temi
(generazione algoritmica)
5.7 Variazioni di armonie
7
Introduzione
10
14
18
18
18
19
20
23
24
26
27
28
28
29
27
27
30

3. 5.8 Variazioni di mix (layering)
5.9 Variazioni della forma
(forma aperta)
5.10 Variazioni della forma
(matrici di transizioni)
6 Le funzionalità dell’audio engine
6.1 L’internal looping
6.2 Il sideways crossfade
6.3 Istruzioni beat-synchronous
6.4 L’effetto di ducking
6.5 Il permutation weighting
7 L’integrazione
7.1 L’utilizzo di middleware per
l’integrazione
Parte 3 - Un esempio pratico:
The Wwise Adventure Game
8 Il gioco
9 Le musiche
9.1 Allegro Kindom
9.2 Dungeon
10 L’integrazione
10.1 Music Segments
10.2 Music Segment Editor
10.3 Music Playlist Container
31
32
34
37
36
36
36
38
38
40
41
44
45
60
45
84
84
85
85
Bibliografia e sitografia 86

5. 7
Introduzione
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6. 8

7. 9
Il videogioco come
mezzo di espressione
Parte 1

8. 10
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10. 12

11. 13
Audio dinamico
Parte 2

12. 14
2. Sonoro interattivo e adattativo
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Esempio 1, Livello 1, Atto 1:
suona musica Green Grove
IF Sonic prende le scarpe veloci
THEN suona “musica scarpe veloci”;
IF Sonic prende lo stemma dell’invincibilità`
THEN suona “musica dell’invincibilità”;
IF Sonic ha collezionato 100 anelli
THEN suona “jingle dei 100 anelli”;
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13. 15
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14. 16
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1. l’abilità di creare una musica che cambi ad
ogni partita;
2. l’abilità di creare una musica sfaccettata
trasformando i temi in diversi modi;
3. l’abilità di aggiungere momenti di sorpresa
e di aumentare in generale la piacevolezza
nell’esperienza di gioco;
4. l’abilità di inserire elementi musicali come
attrattive del gameplay⁸.
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_*,%"H*"/I*+,*+[&(#/%$/"+:%2+5*(+%+,(+!&%()*#H+-.$*/+(#,+3".#,+
F"&+ ^(6%$+ ,*+ ^JnJ+ !I*2,$+ <_+ akI"6$"#+ !".&$%+ k%/I#"2"H]L+
=>>XdL+/(G*)"2"+?>U+0!"6G"$*#HU+kI%+^(6%+:%$*H#4

15. 17

16. 18
3. Le categorie di interventi musicali
:*+$%H.*)"+(#,&%6"+(,+(#(2*NN(&%+2%+)&%+/()%H"&*%+G&*#/*G(2*+,*+
*#)%&'%#)*+6.$*/(2*+G&%$%#)*+#%22(+6.$*/(+G%&+'*,%"H*"/I*J
3"#"+D.%H2*+*#)%&'%#)*+6.$*/(2*+/I%+I(##"+6(HH*"&%+*6G"&)(#N(+
#%2+H*"/"+%+*2+2"&"+(2)"+'"2.6%+2*+&%#,%+G%&/%G*C*2*+/I*(&(6%#)%+
,(22B($/"2)()"&%J+ <+ )%6*+ $"#"+ $G%$$"+ *#+ H&(#,%+ %'*,%#N(o+
D.%$)*+ *#)%&'%#)*+ (//"6G(H#(#"+ 2%+ $/%#%+ G*M+ *6G"&)(#)*+ ,%2+
'*,%"H(6%L+2%+$/%#%+,B(N*"#%L+D.%22%+,*+%$G2"&(N*"#%L+D.%22%+*#+
H%#%&(2%+*#+/.*+0$.//%,%+D.(2/"$(4J
3.1 Interventi principali
5%&+ %'*)(&%+ $*2%#N*+ #"#+ ,%$*,%&()*+ G.Q+ %$$%&%+ .)*2*NN()(+
,%22(+ 6.$*/(+ ,B(6C*%#)%+ *#+ 6","+ ,(+ 6(#)%#%&%+ ())*'(+ 2(+
/"6G"#%#)%+$"#"&(+(22B*#)%&#"+,%2+H*"/"J+S.%$)"+)*G"+,*+6.$*/(+
,*+ $"))"F"#,"+ &%$)(+ $"2*)(6%#)%+ #%22"+ $)*2%+ ,%H2*+ *#)%&'%#)*+
G&*#/*G(2*L+ (22%HH%&%#,"+ *+ )%6*+ )&(6*)%+ 2B.)*2*NN"+ ,*+ (//"&,*+
2.#HI*L+,*#(6*/I%+)%#.*+%+6%2",*%+%+(&6"#*%+$%6G2*/*+*#+6","+
,(+ G($$(&%+ D.($*+ *#"$$%&'()(+ #%2+ /"6G2%$$"+ ,%2+ G(#"&(6(+
$"#"&"J+p#+C&(#"+"&/I%$)&(2%L+(,+%$%6G*"L+G")&%CC%+.)*2*NN(&%+*2+
4-3$5*+,%22(+$%N*"#%+,%H2*+(&/I*L+6%#)&%+.#(+/"2"##(+$"#"&(+/"#+
$)&.6%#)*+%2%))&"#*/*+(#,&%CC%+(+,%*+,$!o+H2*+%2%6%#)*+G&*#/*G(2*+
,*+/.*+)%#%&%+/"#)"+$"#"+2B.)*2*NN"+,*+.#(+$/&*)).&(+F(/*2%+%+,*+.#+
'"2.6%+ C($$"J+ 8"&6(26%#)%L+ 2(+ 6.$*/(+ ,B(6C*%#)%+ E+ *,%(2%+
G%&+H2*+$/%#(&*+,*+2.#H(+,.&()(+*#+/.*+*2+H*"/()"&%+I(+C*$"H#"+
,*+ /"#/%#)&(&$*qJ+ 3%+ #"#+ F"$$%+ G&%$%#)%L+ *2+ G*M+ ,%22%+ '"2)%+ $*+
G%&/%G*&%CC%+ .#+ '.")"+ %,+ (2)&*+ &.6"&*+ %$)%&#*+ (2+ '*,%"H*"/"+
G")&%CC%&"+,*$).&C(&%+2B%$G%&*%#N(+,%2+H*"/()"&%J
3.2 Ambient tracks
+"#<+H*"/I*+,*+$G"&)+%+
*+$*6.2()"&*+,*+'"2"+
$"#"+)*G*/(6%#)%+
,%'")*+(+D.%$)"+)*G"+
,*+/"6G"$*N*"#*
p$()*+.#*)(6%#)%+(,+(2)&(+6.$*/(+/I%+E+H*K+*#+%$%/.N*"#%L+H2*+
$)*#H%&+ $"#"+ C&%'*$$*6*+ *#)%&'%#)*+ 6.$*/(2*+ %$%H.*)*+ *#+ G.#)*+
$G%/*R/*+,%2+H*"/"+G%&+&*/I*(6(&%+2B())%#N*"#%+$.+.#+*6G&"''*$"+
%'%#)"+$*H#*R/()*'"J+A(+2"&"+,.&()(+$*+(HH*&(+$"2*)(6%#)%+*#)"&#"+
3.3 Stinger

17. 19
(*+=+"+`+$%/"#,*o+#"#"$)(#)%+$*(#"+/I*(&(6%#)%+.,*C*2*+$"G&(+
2(+6.$*/(L+%$$*+'%#H"#"+/&%()*+*#+6","+,(+G")%&+/"#'*'%&%+/"#+
%$$(+.)*2*NN(#,"+/(&())%&*$)*/I%+/"6G()*C*2*+a/"6%+(,+%$%6G*"+2(+
$/%2)(+)*6C&*/(+"+2(+)"#(2*)KdJ+92)&%+(,+%'*,%#N*(&%+,%*+6"6%#)*+
,%2+ 3$%-,4$"L+ H2*+ 65&#3-.+ G"$$"#"+ %$$%&%+ (#/I%+ .)*2*NN()*+ G%&+
$"))"2*#%(&%+2(+/"6G(&$(+,*+2"HI*+"+$/&*))%J+5%&+2"+$)%$$"+$/"G"+
G"$$"#"+%$$%&%+/&%()*+(#/I%+,%H2*+%O%))*+$"#"&*U+2(+$/%2)(+'(&*(+
*#+C($%+(22%+$G%/*R/I%+%$*H%#N%+,%2+H*"/"J+

18. 20
4. La non linearità nei videogiochi
<2+ G*M+ H&(#,%+ G&"C2%6(+ ,(+ (O&"#)(&%+ G%&+ .#+ /"6G"$*)"&%+
,*+ 6.$*/(+ G%&+ '*,%"H*"/I*+ E+ 2(+ 2"&"+ #"#+ 2*#%(&*)KJ+ -"2)*+
H*"/I*+*#F())*+$"#"+%$)&%6(6%#)%+*6G&%'%,*C*2*+(+/(.$(+,%22%+
G"$$*C*2*)K+ ,*+ $/%2)(+ ,%2+ H*"/()"&%o+ 2(+ $)&.)).&(+ &(6*R/()(+ *#+
RH.&(+?+#%+&(rH.&(+.#+G"$$*C*2%+%$%6G*"J+
Figura 1. Una possibile struttura ramificata
della narrazione

19. 21
S.%$)"+)*G"+,*+#(&&(N*"#%+$*+G")%'(+)&"'(&%+*#+(2/.#%+/"22(#%+
,*+2*C&*+G%&+C(6C*#*+/I%+%CC%&"+.#+/%&)"+$.//%$$"+#%H2*+(##*+
sl>1<U+ *#+ G&%/*$*+ G.#)*+ ,%22(+ $)"&*(+ '%#*'(+ /I*%$)"+ (2+ 2%))"&%+ ,*+
F(&%+.#(+,%/*$*"#%+/I%+2"+&*6(#,(+(+2%HH%&%+.#+(2)&"+/(G*)"2"+
(,+.#B(2)&(+G(H*#(J+1#/I%+2(+8*#)%#,"11+G.CC2*/Q+.#(+$%&*%+,*+
2*C&*+,*+D.%$)"+)*G"U
!,"#p#+2*C&"H(6%L+"+
(#/I%+2*C&"fH*"/"L+E+
.#e"G%&(+#(&&()*'(+/I%+
*#'%/%+,*+%$$%&%+2%))(+
2*#%(&6%#)%+,(22e*#*N*"+
(22(+R#%L+"O&%+(2+
2%))"&%+2(+G"$$*C*2*)K+
,*+G(&)%/*G(&%+
())*'(6%#)%+(22(+
$)"&*(L+,%/*,%#,"+
)&(+(2/.#%+G"$$*C*2*+
(2)%&#()*'%L+6%,*(#)%+
2e.$"+,*+G(&(H&(R+"+
G(H*#%+#.6%&()%J
“Sto arrivando, Principessa!” grida Mario.
Poi comincia a correre lungo il corridoio
ed apre la porta della stanza delle
provviste. In quel momento scatta di nuovo
l’allarme, più forte che mai.
Mario dovrebbe cercare le provviste? Forse
per prima cosa dovrebbe rintracciare
Luigi. O forse dovrebbe dirigersi verso
il Regno dei Funghi immediatamente. Deve
decidersi, e deve farlo in fretta!
Se pensi che Mario debba cercare
Luigi, vai a pagina 100
Se pensi che Mario debba prendere
le provviste, vai a pagina 34
Se pensi che Mario debba recarsi
immediatamente nel Regno dei
Funghi, vai a pagina 68
!!"#8*#)%#,"+!"J+A),+E+
.#e(N*%#,(+H*(GG"#%$%+
$G%/*(2*NN()(+#%22(+
G&",.N*"#%+,*+
'*,%"H*"/I*+%+/"#$"2%J

20. 22
S.%$)"+ $/%#(&*"+ G"&)(+ (+ )&%+ G"$$*C*2*+ &(6*R/(N*"#*U+ /%&/(&%+
A.*H*L+G&%#,%&%+2%+G&"''*$)%L+"+(#,(&%+#%2+7%H#"+,%*+[.#HI*J+
["&#*&%+ (22B.)%#)%+ $/%2)%+ $*6*2*+ *#+ .#+ H*"/"+ E+ %$)&%6(6%#)%+
/"6G2%$$"+ G%&+ 2(+ #(&&(N*"#%J+ 1#,&%t+ ^2($$#%&L+ %$G%&)"+ *#+
/"6G.)%&+H&(R/(+$)().#*)%#$%L+$G*%H(U
“Se ci sono dieci punti di ramificazione nel corso
della storia, e tre possibili scelte ad ogni punto,
questo significa che l’autore deve scrivere più` di
59.000 storie”
p#(+ $"2.N*"#%+ E+ D.%22(+ ,*+ /&%(&%+ .#+ 6",%22"+ *#+ /.*+ *+ &(6*+
&*)"&#(#"+(22B*,%(+/%#)&(2%+%+,"'%+/e%+.#B.#*/(+$"2.N*"#%+R#(2%+
a'%,*+RH.&(+=d
Figura 2. Una struttura ramificata con unica
soluzione finale

21. 23
4.1 La non linearità nell’audio
A%+ /"#$%H.%#N%+ $.2+ $"#"&"+ ,*+ .#(+ $)&.)).&(+ ,*+ #(&&(N*"#%+
&(6*R/()(+$"#"+$*H#*R/()*'%J+3)&.)).&%+,*+D.%$)"+)*G"L+/*)(#,"+
^2($$#%&L+02*6*)(#"+*2+/"#)&"22"+,%22B(.)"&%+$.+&*)6"L+'%2"/*)KL+
&*G%)*N*"#*L+)%6(+%+'(&*(N*"#*L+(#/I%+$.22(+/($.(2*)KuJ+92)&%).))"L+
D.%$)*+G.#)*+,*+)&(#$*N*"#%+/"&&*$G"#,"#"+$"2*)(6%#)%+(+6"6%#)*+
%$)&%6(6%#)%+ *6G"&)(#)*+ #%22(+ #(&&(N*"#%+ a*2+ H*"/()"&%+ ,%'%+
(GG.#)"+F(&%+.#(+$/%2)(+$.22(+$)&(,(+,(+*#)&(G&%#,%&%dL+D.*#,*+
2e*6G"&)(#N(+,%2+$"#"&"+E+/&./*(2%J+A(+G*(#*R/(N*"#%+,*+D.%$)*+
6"6%#)*+,(2+G.#)"+,*+'*$)(+,%22B(.,*"+E+/"6G2*/()(L+6(+(#/I%+
%$)&%6(6%#)%+*6G"&)(#)%J
5(&2(#,"+ ,*+ /"6G"$*N*"#%+ 6.$*/(2%L+ /*+ $"#"+ .2)%&*"&*+
/"6C*#(N*"#*+&*$G%))"+(22(+$)&.)).&(+&(6*R/()(+$"G&(+,%$/&*))(J+
A(+6.$*/(+*#F())*+,%'%+G")%&+/(6C*(&%+/"#+6"2)(+G*M+F&%D.%#N(L+
*#+D.(#)"+,%'%+&*$G"#,%&%+(22%+(N*"#*+,%2+H*"/()"&%L+(22%+(N*"#*+
,%*+85!12L+(*+G(&(6%)&*+,*+H*"/"+/"6%+(,+%$%6G*"+*+G.#)*+'*)(L+
%+(*+G(&(6%)&*+,%2+2."H"J+!"#$*,%&*(6"+(,+%$%6G*"+2(+$)&.)).&(+
,*+.#+*G")%)*/"+6(H(NN*#"+*#,.$)&*(2%+aRH.&(+`dJ+:(22(+$)(#N(+1+
*2+H*"/()"&%+G.Z"+G&"/%,%&%+*#+,*'%&$%+,*&%N*"#*L+"H#.#(+,%22%+
D.(2*+G")&%CC%+&*/I*%,%&%+.#(+#."'(+)&(//*(+6.$*/(2%U+(#,(#,"+
*#+('(#)*+*2+H*"/()"&%+G")&%CC%+&*)&"'(&$*+*#+6%NN"+(+#%6*/*+/I%+
H2*+$G(&(#"+a$)(#N(+WdL+,*%)&"+,*+$V+G")&%CC%+)&"'(&%+.#+(6C*%#)%+
/I%+'(+(+F."/"+a!dL+$"G&(+,*+$%+*2+)%))"+a[dL+$"))"+*#'%/%+.#(+C")"2(+
G%&+(//%,%&%+(*+$"))%&&(#%*+a^dL+(+$*#*$)&(+.#+$"2"+#%6*/"+a:dL+
(+ ,%$)&(+ 2(+ $)(#N(+ ,%22%+ /"6.#*/(N*"#*+ a;dJ+ A(+ 6.$*/(+ /I%+
$%#)*(6"+#%22(+$)(#N(+1+,%'%+%$$%&%+*#+H&(,"+,*+6.)(&%L+*#+.#+
6"6%#)"+D.(2$*($*L+*#+(26%#"+$%*+6",*+,*O%&%#)*J+<2+H*"/()"&%+
G")&%CC%+($G%))(&%+#%22(+$)(#N(+1+G%&+,.%+6*#.)*+"+G%&+,*%/*+
$%/"#,*J+5")&%CC%+/"&&%&%+#%22(+$)(#N(+WL+(O&"#)(&%+2"+$/"#)&"+
6(+ G"*+ )"&#(&%+ $.C*)"+ *#,*%)&"L+ F(/%#,"+ &*G(&)*&%+ 2(+ )&(//*(+
,%22(+$)(#N(+1J+[*#"&(+(CC*(6"+G(&2()"+$"2"+,*+)&(//%+6.$*/(2*+
,*G%#,%#)*+ ,(2+ 2."H"L+ 6(+ /"6%+ (CC*(6"+ ,%))"+ /I%+ %$*$)"#"+
#.6%&"$*+(2)&*+G(&(6%)&*+/I%+G")&%CC%&"+6",*R/(&%+2(+6.$*/(J
!$"#8"#+52(](C2%+
!I(&(/)%&L+G%&$"#(HH*"+
#"#+H*"/(#)%

22. 24
4.1 La non linearità nell’audio
<2+/"6G"$*)"&%+,%'%+)%#%&%+/"#)"+,%22(+6"2)*).,*#%+,*+$*).(N*"#*+
G"$$*C*2*+(22e*#)%&#"+,%2+H*"/"+%+/%&/(&%+,*+/&%(&%+.#(+6.$*/(+
/I%+G"$$(+&(G*,(6%#)%+(,())(&$*+(22%+,%/*$*"#*+,%2+H*"/()"&%+%+
(2+/(6C*(6%#)"+,%*+G(&(6%)&*+,*+H*"/"J+!"6G"&&%+G%&+$G%/*R/*+
(''%#*6%#)*+ "+ 2"/(N*"#*+ E+ $"2"+ .#(+ G(&)%+ ,%2+ $."+ /"6G*)"L+
*#+ D.(#)"+ ,%'%+ (#/I%+ $(G%&+ "&H(#*NN(&%+ *2+ 6","+ *#+ /.*+ 2%+
,*'%&$%+6.$*/I%+G"$$(#"+%$$%&%+/"22%H()%+)&(+2"&"U+)&(#$*N*"#*+
6"&C*,%+ ($$*/.&(#"+ /"#)*#.*)K+ #%2+ H*"/"+ %+ 2B*66%&$*"#%+ ,%2+
H*"/()"&%J+5(.2+j"O%&)+%2%#/(+$%))%+%2%6%#)*+/I%+,%'"#"+%$$%&%+
/"#$*,%&()*+D.(#,"+$*+(O&"#)(+2(+/"6G"$*N*"#%+,*+.#+6"6%#)"+
,*+ )&(#$*N*"#%U+ '"2.6%L+ )%6G"L+ &*)6"L+ )"#(2*)KL+ (&6"#*(L+
/"#$*$)%#N(+ %+ $)*2%J+ ;$*$)%+ .#(+ H&(#,%+ '(&*%)K+ ,*+ (GG&"//*+ (+
D.%$)"+G&"C2%6(o+2%+/"2"##%+$"#"&%+,%*+'*,%"H*"/I*+.)*2*NN(#"+
$G%$$"+6%)",*+,*O%&%#)*+*#+C($%+(2+H%#%&%+%+(22%+/(&())%&*$)*/I%+
$G%/*R/I%+,%2+)*)"2"J+<+'%//I*+H*"/I*L+$"G&()).))"+#%22B%&(+,%H2*+l+
%+?c+C*)L+)%#,%'(#"+(+G&()*/(&%+)(H2*+#%))*+)&(+2%+6.$*/I%J+9HH*+
*2+6","+G*M+$%6G2*/%+G%&+%O%)).(&%+.#(+)&(#$*N*"#%+E+D.%22"+,*+
Figura 3. La struttura del magazzino
industriale dell’esempio

23. 25
F(&+)%&6*#(&%+/"#+.#+&(G*,"+7$!-8*)513(2(+G&*6(+6.$*/(+G%&+G"*+
F(&+/"6*#/*(&%+$.C*)"+2(+$%/"#,(o+.#(+$"2.N*"#%+$*6*2%+Z%+D.%22(+
,%2+/&"$$F(,%J+1#/I%+*#+D.%$)*+/($*+G%&Q+2(+)&(#$*N*"#%+G")&%CC%+
&*$.2)(&%+ C&.$/(+ "+ *##().&(2%J+ p#+ (2)&"+ 6","+ F&%D.%#)%+ G%&+
%O%)).(&%+ .#(+ )&(#$*N*"#%+ E+ D.%22"+ ,*+ .)*2*NN(&%+ .#"+ $)*#H%&L+
(,+ %$%6G*"+ .#+ C&%'%+ (//"&,"+ $F"&N()"J+ 3"G&()).))"+ #%22%+
$*).(N*"#*+*#+/.*+2(+)&(#$*N*"#%+,%'%+%$$%&%+*66%,*()(L+/"6%+
D.(#,"+G($$*(6"+,(+.#(+$*).(N*"#%+,*+/(26(+(,+.#+*6G&"''*$"+
/"6C())*6%#)"L+ 2"+ $)*#H%&L+ $G%$$"+ /"6C*#()"+ /"#+ .#+ %O%))"+
$"#"&"+ '*"2%#)"+ a.#"+ $G(&"L+ $G(,%+
+
+ /I%+ /"NN(#"L+ %)/Jd+ (*.)(+ (+
/(6.O(&%+*#+6","+%r/(/%+*2+&%G%#)*#"+/(6C*"+6.$*/(2%J+
!%"#<2+F(,%f".)+E+.#(+
,*$$"2'%#N(+,%22e(.,*"L+
,"'%+*2+$."#"+,*'%#)(+
G&"H&%$$*'(6%#)%+G*M+
6"&C*,"+R#"+(+D.(#,"+
#"#+G.Q+G*M+%$$%&%+
$%#)*)"J

24. 26
5. Dieci metodi di variazione nella
musica dinamica
;$*$)"#"+,*'%&$*+(GG&"//*+G%&+"))%#%&%+.#(+'(&*(C*2*)K+6.$*/(2%+
/I%+($$*/.&*+(22(+/"6G"$*N*"#%+.#(+6(HH*"&%+2"#H%'*)K+$%#N(+
(##"*(&%+ *2+ H*"/()"&%+ %+ (2+ )%6G"+ $)%$$"+ (CC*(+ (#/I%+ .#(+
G&"F"#,(+(,%&%#N(+(22%+(N*"#*+%+(22(+#(&&(N*"#%J+p#+/"6G"$*)"&%+
G")&%CC%+ /"6G"&&%+ /%#)*#(*(+ ,*+ C&(#*+ ,*O%&%#)*+ "GG.&%L+
&*$G(&6*(#,"+ .#(+ /"#$*,%&%'"2%+ D.(#)*)K+ ,*+ )%6G"+ %+ F()*/(L+
G")&%CC%+*#)&",.&&%+,%22%+'(&*(N*"#*+(*+6()%&*(2*+6.$*/(2*+G*M+
*6G"&)(#)*+.)*2*NN(#,"+.#"+,%*+,*%/*+6%)",*+$"))"+%2%#/()*U
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Variazioni di tempo
Variazioni di pitch e trasposizioni
Variazioni di ritmo e metrica
Variazioni di volume
Variazioni di DSP
Variazioni di temi (generazione algoritmica)
Variazioni di armonie
Variazioni di mix (layering)
Variazioni della forma (forma aperta)
Variazioni della forma (matrici di transizioni)
A%+ F.#N*"#(2*)K+ ,*+ G&"H&(66(N*"#%+ #%/%$$(&*%+ (22(+ 2"&"+
*6G2%6%#)(N*"#%+$"#"+$G%$$"+*#/2.$%+*#+6*,,2%t(&%L$"vt(&%+
(GG"$*)*+/I%+F.#H"#"+,(+*#)%&6%,*(&*+)&(+,*'%&$%+(GG2*/(N*"#*+
/"6%+(,+%$%6G*"+[-9:14+%+nt*$%19J
!&"#[-9:+E+.#+6")"&%+
G&"G&*%)(&*"+,*+%O%))*+
$"#"&*+%+.#"+$)&.6%#)"+,*+
(.)I"&*#H+G%&+'*,%"H*"/I*+
%+(GG2*/(N*"#*+$'*2.GG()*+
,(+[*&%2*HI)+k%/I#"2"H*%$L+
/I%+&*G&",./"#"+%+6*w(#"+
$."#*+,*+,*'%&$*+F"&6()*+$.+
6"2)*+$*$)%6*+"G%&()*'*J
!'"+nt*$%+nt*$%+E+*2+
$"vt(&%+,*+1.,*"x*#%)*/+
G%&+6%,*(+*#)%&())*'*+%+
'*,%"H*"/I*

25. 27
5.1 Variazioni di tempo
S.%$)"+)*G"+,*+'(&*(N*"#*+E+G*.))"$)"+F&%D.%#)%+%+$*+G.Q+)&"'(&%+
(,,*&*)).&(+*#+(2/.#*+,%*+G&*6*$$*6*+%$%6G*+,*+'*,%"H*"/I*+,%22(+
R#%+,%H2*+(##*+ZX>+/"6%(+,$'-(9#:$!-.61:+%+;65-.*&!61;J+S.%$)"+
6%)","+'*%#%+G(&)*/"2(&6%#)%+.)*2*NN()"+*#+&%2(N*"#%+(2+)%6G"+
,*+H*"/"U+D.(#,"+*+$%/"#,*+(+,*$G"$*N*"#%+G%&+/"6G2%)(&%+.#+
2*'%22"+*#++),-.(/$.&*(<.*6J1=+$)(##"+G%&+)%&6*#(&%+%+D.(#,"+
(.6%#)(#"+2%+&*HI%+$.22(+$/I%&6()(+,*+0-5.&61>+'*%#%+$F&.))()(+
D.%$)(+)%/#*/(J+<2+)%6G"+6%)&"#"6*/"+,*+.#+C&(#"+G.Q+(#/I%+
%$$%&%+ 6",*R/()"+ *#+ )%6G"+ &%(2%+ G%&+ &*$G"#,%&%+ (+ ,*'%&$*+
G(&(6%)&*+/"6%L+(,+%$%6G*"L+*2+#.6%&"+,*+H*&*+(2+6*#.)"+,%2+
6")"&%+*#+.#+H*"/"+,*+/"&$%L+*2+#.6%&"+,*+#%6*/*+&*6($)*+'*'*L+"+
*2+#.6%&"+,*+=>2<+&*6($)*+(2+H*"/()"&%J+
5.2 Variazioni di pitch e trasposizioni
<#+ G($$()"L+ )&($G"&)(&%+ *#)%&%+ $%D.%#N%+ %&(+ .#+ 6%)","+ G%&+
$.G%&(&%+ 2%+ 2*6*)(N*"#*+ )%/#*/I%+ ,%22%+ /"#$"2%L+ *#+ D.(#)"+
2B*$)&.N*"#%+ G%&+ 2(+ )&($G"$*N*"#%+ &*/I*%,%+ .#(+ D.(#)*)K+ ,*+
6%6"&*(+*&&*2%'(#)%+&*$G%))"+(+D.%22(+&*/I*%$)(+,(+.#(+)&(//*(+
/"6G2%)(6%#)%+ #."'(J+ [.#N*"#*+ ,*+ )&($G"$*N*"#%+ '%#*'(#"+
D.*#,*+ *#$%&*)%+ #%2+ /",*/%+ ,%2+ H*"/"J+ <#+ 01-( 2-3-#!( *7( ?-4!$@(
0A&4&315( >.&#'-6621+ G%&+ 8*#)%#,"+ n**+ %+ ^(6%!.C%+ )&"'*(6"+
.#+ *#)%&%$$(#)%+ .)*2*NN"+ ,%22(+ '(&*(N*"#%+ ,*+ G*)/IU+ #%2+
/"6C())*6%#)"+/"#)&"+*2+C"$$+R#(2%L+,"G"+"H#*+/"2G"+,*+$G(,(+
(#,()"+ (+ $%H#"L+ 2(+ 6.$*/(+ '*%#%+ )&($G"&)()(J+ S.%$)"+ )*G"+ ,*+
.)*2*NN"L+/"$P+/"6%+2(+'(&*(N*"#%+,%2+)%6G"L+G.Q+%$$%&%+.)*2%+G%&+
*#/&%6%#)(&%+2(+)%#$*"#%+,*+.#(+$/%#(J+A(+'(&*(N*"#%+,*+G*)/I+
E+(#/I%+.#+"))*6"+6%)","+G%&+&*$G(&6*(&%+$G(N*"+#%2+$".#,+
,%$*H#U+$%+.)*2*NN*(6"+.#+.#*/"+$(6G2%++%+#%+(2)%&*(6"+,*+'"2)(+
*#+'"2)(+*2+G*)/I+*#+6(#*%&(+/($.(2%+G")&%6"+.$(&2"+6"2)%+'"2)%+
$%#N(+/I%+&*$.2)*+&*G%)*)*'"J+
5.3 Variazioni di ritmo e metrica
!"6%+ 2(+ $)"&*(+ ,%22(+ 6.$*/(+ /*+ *#$%H#(L+ '(&*(&%+ .#+ )%6(+
.)*2*NN(#,"+ &*)6"+ %+ 6%)&*/(+ ,*O%&%#)*+ G.Q+ %$$%&%+ .#+ "))*6"+
!("#3G(/%+<#'(,%&$+E+
.#+'*,%"H*"/"+(&/(,%+(+
)%6(+*#'($*"#%+(2*%#(L+
G.CC2*/()"+,(22(+-*,t(]+
^(6%$+#%2+?bXl
!)"#1$)%&"*,$+
E+.#+'*,%"H*"/"+(&/(,%+
(+H&(R/(+'%))"&*(2%+
&%(2*NN()"+,(+1)(&*L+?bXb
!*"#3.G%&+-(&*"+W&"$+E+.#+
'*,%"H*"/"+(+G*())(F"&6%+
$'*2.GG()"+%+G.CC2*/()"+
#%2+?blm+,(+8*#)%#,"
!+"#k%)&*$++E+.#+'*,%"H*"/"+
,*+2"H*/(+%+&(H*"#(6%#)"+
*#'%#)()"+,(+12%x$%h+
5(y*)#"'+#%2+?blz
$,"#j5+E+2e(/&"#*6"+,*+
=-$451(>*&#56L+.)*2*NN()"+
G%&+*#,*/(&%+*+G.#)*+'*)(+
&*6($)*+(2+H*"/()"&%J
$!"#kI%+A%H%#,+"F+i%2,(U+
kt*2*HI)+5&*#/%$$+E+.#+
'*,%"H*"/"+,%2+=>>cL+
$'*2.GG()"+%+G.CC2*/()"+
,(+8*#)%#,"

26. 28
6%)","+ G%&+ (//"6G(H#(&%+ $*).(N*"#*+ $/%#*/I%+ ,*O%&%#)*+
6(#)%#%#,"+ /"6.#D.%+ .#(+ /"%&%#N(+ H%#%&(2%J+ 1#/I%+ *+
'*,%"H*"/I*+ #"#+ F(##"+ %//%N*"#%+ %+ $F&.))(#"+ (6G*(6%#)%+
D.%$)(+)%/#*/(J+
5.4 Variazioni di volume
A%+'(&*(N*"#*+,*+'"2.6%+$"#"+6"2)"+F&%D.%#)*+#%*+'*,%"H*"/I*+%+
$"#"+G(&)*/"2(&6%#)%+%'*,%#)*+#%22%+$/I%&6()%+,%*+6%#.L+,"'%+
*2+'"2.6%+$/%#,%+6%#)&%+*2+H*"/()"&%+%O%)).(+2(+$%2%N*"#%+G%&+
G"*+)"&#(&%+(+/&%$/%&%+D.(#,"+$*+&*G&%#,%+(+H*"/(&%J+1#/I%+2"+
0$G%H#*6%#)"4+,%22(+6.$*/(+G.Q+%$$%&%+.#(+$"2.N*"#%+D.(#,"+
*2+ H*"/()"&%+ I(+ G($$()"+ ,*'%&$*+ 6*#.)*+ *#+ .#"+ $)%$$"+ 2*'%22"J+
8%2+6"6%#)"+*#+/.*+*2+H*"/()"&%+&*)&"'(+2(+$)&(,(+,(+$%H.*&%L+*2+
'"2.6%+)"&#%&K+(2+2*'%22"+/"#$.%)"J+1#/I%+*+G(&(6%)&*+/"22%H()*+
(22(+)%#$*"#%+G"$$"#"+*#Y.%#N(&%+*2+'"2.6%L+/I%+G($$%&K+,(+.#+
G*(#*$$*6"+#%*+6"6%#)*+,*+/(26(+(+.#+F"&)*$$*6"+*#+D.%22*+G*M+
/"#/*)()*J
5.5 Variazioni di DSP
AB(HH*.#)(+,*+:3522++*#+)%6G"+&%(2%L+"2)&%+(,+%$$%&%+F"#,(6%#)(2%+
#%2+6*$$(HH*"+,%H2*+%O%))*+$"#"&*L+G.Q+%$$%&%+%O%)).()(+(#/I%+
$.22%+ )&(//%+ 6.$*/(2*+ "))%#%#,"+ &*$.2)()*+ /&%()*'*J+ 1HH*.#H%&%+
.#+ :35+ ,*+ "'%&,&*'%+ (22%+ G%&/.$$*"#*+ &%#,%+ *66%,*()(6%#)%+
2(+6.$*/(+G*M+(HH&%$$*'(o+2B(HH*.#)(+,*+&*'%&C%&"L+,%2(]+"+,*+.#+
R2)&"+G($$(fC($$"+())%#.%&K+*#'%/%+*2+$."+*6G())"+%6")*'"J+<#+
H%#%&(2%+2B.)*2*NN"+,*+:35+*#+)%6G"+&%(2%+$.22%+)&(//%+6.$*/(2*+
&(GG&%$%#)(+ .#(+ H&(#,%+ &*$"&$(+ ,(+ )%#%&%+ *#+ /"#$*,%&(N*"#%+
G%&+*2+/"6G"$*)"&%J+
5.6 Variazioni di temi
(generazione algoritmica)
A(+H%#%&(N*"#%+(2H"&*)6*/(L+/I%+.)*2*NN(+*2+G&"/%$$"&%+G%&+/&%(&%+
#."'(+ 6.$*/(+ (.)"#"6(6%#)%L+ #"#+ E+ (#/"&(+ 6"2)"+ ,*O.$(J+
<2+/"6G"$*)"&%+5%)%&+A(#H$)"#+/&%Q+G%&+2(+/"2"##(+$"#"&(+,*+
<$44B4$C-.23+2B(2H"&*)6"+?"@%$%ABL+/I%+$/%H2*%'(+,*#(6*/(6%#)%J+
-(#+6(#"+/I%+H2*+(2H"&*)6*+&(HH*.#H"#"+&*$.2)()*+$%6G&%+G*M+
G&"$$*6*+ (22(+ /"6G"$*N*"#%+ /I%+ .#+ %$$%&%+ .6(#"+ G")&%CC%+
&%(2*NN(&%L+.$(&%+6.$*/(+,*+D.%$)"+)*G"+#%*+'*,%"H*"/I*+$%6C&(+
$$"#:35f:*H*)(2+3*H#(2+
5&"/%$$"&$L+$"#"+,%*+
G&"/%$$"&*+,%,*/()*+
(22B%2(C"&(N*"#%+,*+$%H#(2*+
(.,*"+,*H*)(2*
$%"#W(22C2(N%&+E+.#+H*"/"+
$G"&)*'"+F.).&*$)*/"+/&%()"+
,(+A./($R26+^(6%$+%+
G.CC2*/()"+#%2+?blm+,(+
;G]w

27. 29
$%6G&%+ G*M+ .#(+ $)&(,(+ ,(+ $%H.*&%J+ 8"#+ E+ ,%))"+ /I%+ ).))(+ 2(+
/"6G"$*N*"#%+,%CC(+%$$%&%+H%#%&()(+,(+.#+(2H"&*)6"U+D.%$)"+
G")&%CC%+ /"#)&"22(&%+ $"2)(#)"+ (2/.#*+ $)&.6%#)*+ "+ $%N*"#*+ ,%2+
C&(#"J+ !"6%+ #%2+ /($"+ ,*+ <$44B4$C-.L+ G")&%CC%+ *6G&"''*$(&%+
$"G&(+ .#(+ 2*#%(+ ,*+ C($$"+ %+ C())%&*(L+ "GG.&%+ G")&%CC%+ F(&+
%'"2'%&%+#%2+)%6G"+.#+&*)6"+,*+G%&/.$$*"#*L+"+(#/"&(+H%$)*&%+
2B"&/I%$)&(N*"#%+*#+C($%+(22B()6"$F%&(+,*+.#(+G(&)*/"2(&%+$/%#(J+
!"#)*#.(#,"+(+G(&2(&%+,*+(2H"&*)6*L+2(+$*#)%$*+H&(#.2(&%+"O&%+
#.6%&"$*$$*6%+G"$$*C*2*)K+/&%()*'%+.)*2*NN(C*2*+*#+)%6G"+&%(2%+
#%2+ $".#,+ ,%$*H#+ ,*+ .#+ H*"/"J+ AB"&H(#*NN(N*"#%+ ,%*+ H&(#*+ ,*+
$."#"+G.Q+%$$%&%+F(/*26%#)%+&%H"2()(+,(+D.(2$*($*+'(&*(C*2%+,%2+
3$%-,4$"{|J+
Figura 4. Immagine di copertina del videogioco
Ballblazer, 1985
$&"#<2+H(6%G2(]+E+
.#(+/(&())%&*$)*/(+
,%*+'*,%"H*"/I*+
/I%+&(GG&%$%#)(+
2e%$G%&*%#N(+
,%22e*#)%&(N*"#%+,%2+
H*"/()"&%+/"#+*2+H*"/"

28. 30
5.7 Variazioni di armonie
T+G"$$*C*2%+6",*R/(&%+*2+/(&())%&%+,*+.#+G%NN"+(2)%&(#,"#%+2%+
$%D.%#N%+(&6"#*/I%+"+*+$*#H"2*+(//"&,*+*#+)%6G"+&%(2%J+S.%$)(+
)%/#*/(+E+$)()(+.)*2*NN()(+*#+1$I%&"#B$+!(22+=U+[(22%#+g*#H$29+,(+
($"#+"&H+W"")IL+/I%+,*/%+(+&*H.(&,"U+
“Volevamo mantenere la musica relativamente
semplice, ambientale, evitando soluzioni d’impatto.
Sapevamo anche che potenzialmente c’era un gran
numero di parti melodiche che suonavano su una
certa base armonica e che queste melodie erano
il modo di aggiungere tensione e risoluzione alla
composizione."
;'*)(&%+,*+.)*2*NN(&%+$G%/*R/I%+/(,%#N%+(&6"#*/I%+Z%+.#+6","+
G%&+&%#,%&%+2(+6.$*/(+G*.Z+(,())(C*2%L+/"6%+,%$/&*'%+W"")IU
"[La nostra soluzione era] simile a particolari
strutture utilizzate nella musica indiana;
decidevamo la tonalità come se fosse un Raga (la
tonica ripetuta in continuazione per un pomeriggio
intero), creando uno spazio meditativo senza la
ripetizione e la direzionalità`a data da una serie
ciclica di accordi"
!(6C*+#%*+6",*+.)*2*NN()*+/"&&*$G"#,"#"+(+/(6C*+,*+$*).(N*"#*+
#%2+H(6%G2(]U
"Un giocatore solo in un ambiente di gioco potrebbe
sentire una musica di sottofondo nel modo lidio, ma
nel momento in cui creature nemiche riempiono l’area
il modo potrebbe diventare frigio, conferendo alla
musica un carattere più oscuro."
_(&*(N*"#*+ #%22B(&6"#*(+ G"$$"#"+ &*H.(&,(&%+ #"#+ $"2"+ *+ 6",*+
6(+(#/I%+,*O%&%#)*+$/%2)%+,*+(//"&,*U+$*+G")&K+(&6"#*NN(&%+.#"+
$)%$$"+ G($$(HH*"+ /"#+ H&(,*+ ,*'%&$*+ (GG(&)%#%#)*+ (22(+ )"#(2*)K+
G&%$/%2)(J+
$'"#1$I%&"#e$+!(22+
%&(+.#+H*"/"+,*+
&."2"+"#2*#%+F(#)($]+
6.2)*G2(]%&+,*+6($$(+
G%&+5!+-*/&"$"v+
n*#,"t$L+$'*2.GG()"+%+
G.CC2*/()"+,(+k.&C*#%+
;#)%&)(*#6%#)
5.8 Variazioni di mix (layering)
_(&*(N*"#*+ #%22(+ $)&.6%#)(N*"#%+ G"$$"#"+ "O&*&%+ $"2.N*"#*+
*#)%&%$$(#)*+ #%22(+ 6.$*/(+ ,*#(6*/(J+ 7%H"2(#,"+ '(&*+ %2%6%#)*+

29. 31
#%2+ 6*wL+ (,+ %$%6G*"+ (2N(#,"+ *2+ 2*'%22"+ ,%22%+ G%&/.$$*"#*+ G%&+
(HH*.#H%&%+)%#$*"#%L++.#(+)&(//*(+G.Q+%$$%&%+6",*R/()(+*#+6","+
F(/*2%+%,+%r/(/%J+<#+.#+C&(#"+G")&%CC%+%$$%&/*L+(,+%$%6G*"L+
.#(+2*#%(+6(2*#/"#*/(+,*+$($$"F"#"+6"2)"+C($$(+#%2+6*w+G&*6(+
/I%+*2+H*"/()"&%+(&&*'*+(,+.#(+$'"2)(+,&(66()*/(+#%22(+)&(6(o+
(+ D.%$)"+ G.#)"+ D.%22(+ )&(//*(+ G")&%CC%+ %6%&H%&%+ ())&('%&$"+
.#+*##(2N(6%#)"+,%2+$."+'"2.6%J+3*+G"$$"#"+6%))%&%+*#+6.)"+
*#)%&%+)&(//%+%+*#$%&*&2%+#%2+6*w+/"6%+4$"-.62:++/"#+*2+G&%/*$"+
*#)%#)"+,*+F(&2*+/"6G(&*&%+%+$/"6G(&*&%+,(2+6*w+*#+G.#)*+G&%/*$*+
,%22(+ #(&&(N*"#%J+ S.%$)"+ 6%)","+ ,*+ /"6G"$*N*"#%+ ,*#(6*/(+
F.#N*"#(+ 6"2)"+ C%#%+ #%22%+ )&(#$*N*"#*+ ,"2/*L+ 6(+ G")&%CC%+
&*$.2)(&%+ F(/*2%+ /(6C*(&%+ /"6G2%)(6%#)%+ ()6"$F%&(+ *#+ 6","+
&(G*,"J+p#+%$%6G*"+6"2)"+%r/(/%+,%22B.)*2*NN"+,*+D.%$)(+)%/#*/(+
$*+ G.Q+ ($/"2)(&%+ *#+ +),-.( /$.&*( D*.4!2;+ a8*#)%#,"L+ ?bb>dU+ .#+
2(]%&+,*+G%&/.$$*"#*+$*+$"'&(GG"#%+(2+)%6(+G&*#/*G(2%+D.(#,"+
-(&*"+/('(2/(+}"$I*+a[*H.&(+mdJ
A(+)%/#*/(+,%2+2(]%&*#H+G.Q+,*'%#)(&%+G*M+/"6G2%$$(+%+C($(&$*+
$.+G(&(6%)&*+,%2+H(6%G2(]+/"6%+*2+#.6%&"+,*+H*"/()"&*+*#+.#+
--92=J+ <#+ 1$I%&"#B$+ !(22+ =L+ /*($/.#"+ ,%*+ G%&$"#(HH*+ I(+ .#+
)%6(+ ,*O%&%#)%+ /I%+ $*+ (HH*.#H%+ (22(+ C($%+ 6.$*/(2%J+ A(+ &(NN(+
,%*+5)%-.*E6+(,+%$%6G*"+$."#(+*+)(6C.&*L+6%#)&%+(,+(2)&%+&(NN%+
/"&&*$G"#,"#"+ (2)&*+ $)&.6%#)*J+ 9H#*+ G%&$"#(HH*"+ $.22(+ $/%#(+
(HH*.#H%+ .#+ %2%6%#)"+ 6.$*/(2%+ 2"/(2*NN()"+ *#+ `:L+ 6%#)&%+ 2(+
2"/(N*"#%+#%2+H*"/"+,%)%&6*#(+2(+6.$*/(+,B(6C*%#)%L+*2+)%6G"+
,*+6%)&"#"6"+%+2(+)"#(2*)KJ
Figura 5. Frame dal gioco Super Mario World, 1990
$)"#3.G%&+-(&*"+n"&2,++
E+.#+H*"/"+G2()F"&6+
,%2+?bb>+$'*2.GG()"+,(+
8*#)%#,"
$*"#--9L+(#/I%+
$/&*))"+#%22(+F"&6(+
--9^L+E+2e(/&"#*6"+
,*+-($$*'%2]+
-.2)*G2(]%&+9#2*#%+
^(6%J+p#(+/()%H"&*(+
,*+'*,%"H*"/I*+"#2*#%+
/"#+.#+(2)"+#.6%&"+,*+
H*"/()"&*
$("#3)&()*R/(N*"#*+,*+
)&(//%+(.,*"

30. 32
5.9 Variazioni della forma (forma aperta)
8%22(+ $)"&*(+ ,%22(+ 6.$*/(+ $*+ G"$$"#"+ )&"'(&%+ ,*'%&$*+ $).,*+
$.22B"&,*#(6%#)"+ /($.(2%+ ,*+ F&($*+ "+ $%D.%#N%+ G%&+ /&%(&%+
/"6G"$*N*"#*+ $%6G&%+ ,*'%&$%o+ D.%$)*+ %$G%,*%#)*L+ )&(+ /.*+ (,+
%$%6G*"+*+!$!&(!&(/*C$.5(2>%+2(+6.$*/(+(2%()"&*(L+&(GG&%$%#)(#"+
,%22%+H&(#,*+G"$$*C*2*)K+.)*2*NN(C*2*+*#+6","+/&%()*'"+%,+%r/(/%+
#%22(+ 6.$*/(+ G%&+ '*,%"H*"/I*J+ ;$*$)"#"+ 6"2)*+ )*G*+ ,*'%&$*+ ,*+
"&,*#(6%#)"+ '(&*(C*2%L+ "+ 0F"&6(+ (G%&)(4o+ 2B(G%&).&(+ ,%22(+
$)&.)).&(+G.Q+&*H.(&,(&%+D.(2$*($*+2*'%22"+a2.#HI%+G"&N*"#*+,*+.#+
C&(#"L+$%D.%#N%L+$*#H"2%+F&($*+"+C&%'*+*#/*$*dJ+AB*,%(+&*$(2%+(26%#"+
(2+ ~_<<<+ $%/"2"L+ D.(#,"+ )&"'*(6"+ 2(+ 6",(+ ,%*+ ,(,*+ 6.$*/(2*+
*#+ ;.&"G(U+ *2+ H*"/"+ %&(+ $)()"+ *,%()"+ G%&+ 2%+ G%&$"#%+ (+ ,*H*.#"+
,*+/"6G"$*N*"#%+/I%+())&('%&$"+*2+2(#/*"+,%*+,(,*+$/%H2*%'(#"+
2B"&,*#%+,%22%+$%D.%#N%+%+G")%'(#"+/"$P+/&%(&%+6*#.%))*L+6(&/%L+
G"2(//I%L+t(2N%&L+%+'*(+,*/%#,"J+5*M+&%/%#)%6%#)%+)&"'*(6"+,%H2*+
*#)%&%$$(#)*+%$%6G*+#%22(+6.$*/(+(2%()"&*(+,*+/"6G"$*)"&*+/"6%+
"I#+!(H%L+g(&2I%*#N+3)"/xI(.$%#+%+5*%&&%+W".2%NJ+8%22(+3"#()(+
G%&+G*(#"F"&)%+F*G(H(!&(<*)4-C(a?bmcfmXd+)&"'*(6"+*#+G(&)*/"2(&%+
,%22%+ $%&*%+ ,*+ "5678,0+ %+ *#,*/(N*"#*+ ,*+ )%6G"+ /I%+ &*/"&,(#"+
6"2)"+2(+$*#)($$*+,*+.#+2*#H.(HH*"+,*+G&"H&(66(N*"#%J+A(+F"&6(+
(G%&)(+"O&%+6"2)%+G"$$*C*2*)K+(2+/"6G"$*)"&%+G%&+'*,%"+H(6%$+
*#+ D.(#)"+ 6(#)*%#%+ '*'"+ 2B*#)%&%$$%+ *#)&",./%#,"+ '(&*(N*"#*+
%+ $F&.))(#,"+ ,%22%+ )&(#$(N*"#*+ G*(#*R/()%+ *#+ G&%/%,%#N(J+ <2+
/"6G"$*)"&%+j%#&*+5".$$%.&++$G*%H(U
“Le esecuzioni erano sempre molto diverse, in
quanto l’inizio e la fine di ogni sequenza potevano
diventare l’inizio o la fine dell’intero brano, con
adattamenti dinamici specifici. Due sequenze poteva-
no essere collegate se la fine della prima e l’inizio
della seconda erano simili (ad esempio entrambe nel
registro acuto, con ritmo veloce, omogenee); una
continuità` completa era quindi possibile senza il
minimo segno di giunture.“
A(+ F"&6(+ (G%&)(+ E+ $)()(+ .)*2*NN()(+ /"#+ $.//%$$"+ *#+ #.6%&"$*+
'*,%"H*"/I*J+01-(2-3-#!(*7(?-4!$@(I'$.&#$(*7(0&%-3<L+(,+%$%6G*"L+
.)*2*NN(+.#(+6.$*/(+/"#+$)&.)).&(+(2%()"&*(+D.(#,"+/*+$*+$G"$)(+
)&(+ *+ 2*'%22*+ #%2+ 6"#,"+ ,*+ =".)4-J+ :()"+ /I%+ *2+ H*"/()"&%+ ,%'%+
G($$(&%+ 6"2)"+ )%6G"+ *#+ D.%22%+ (&%%+ G%&+ (//%,%&%+ (,+ (2)&%+
N"#%L+ 2%+ $%D.%#N%+ 6.$*/(2*+ $"#"+ %$%H.*)%+ *#+ "&,*#%+ /($.(2%+
G%&+6(#)%#%&%+'*'"+*2+$."+*#)%&%$$%J+9H#*+'"2)(+/I%+/*+$*+)&"'(+
*#+ D.%22(+ N"#(+ ,*+ )&(#$*N*"#%L+ D.*#,*L+ 2(+ 6.$*/(+ E+ ,*'%&$(J+
8"#"$)(#)%+H2*+*#,*$/.)*C*2*+'(#)(HH*+,*+.#(+F"&6(+(G%&)(L+%$$(+
G&%$%#)(+(#/I%+,*'%&$%+,*r/"2)K+G%&+*2+/"6G"$*)"&%J+
%,"#kI%+A%H%#,+"F+
i%2,(U+9/(&*#(+"F+k*6%+
+
E+.#+H*"/"+,*+(N*"#%+%+
(''%#).&(+$'*2.GG()"+
%+G.CC2*/()"+,(+
8*#)%#,"+#%2+?bbl
$+"#:(,*+,*+-"N(&)+
E+.#+H*"/"+%&(+
/"$)*).*)"+,(+,.%+
,(,*+,(+2(#/*(&%+G%&+
"))%#%&%+.#(+$%D.%#N(+
#.6%&*/(+/($.(2%+
/.*+F(&+/"&&*$G"#,%&%+
,%22%+C()).)%+6.$*/(2*+
&*G"&)()%+$%/"#,"+.#+
#.6%&"+,B"&,*#%+*#+
(GG"$*)%+)(C%22%

31. 33
A(+ G&*6(+ E+ /I%+ 2B($/"2)()"&%+ "//*,%#)(2%+ I(+ .#(+ #().&(2%+
($G%))()*'(+/I%+2"+G"&)(+(+G%#$(&%+/I%+2(+6.$*/(+$*(+"&*%#)()(+
'%&$"+.#(+/%&)(+,*&%N*"#%U+2(+6(HH*"&+G(&)%+,%22%+/"6G"$*N*"#*+
/I%+($/"2)*(6"+I(##"+*#F())*+.#(+/I*(&(+$)&.)).&(+"&H(#*NN()(+
%+ &*/"#"$/*C*2%J+ 8%22(+ F"&6(+ (G%&)(+ *#'%/%+ *#/"#)&*(6"+ ,%22%+
,*r/"2)K+#%2+&*/"#"$/%&%+D.%$)(+$)&.)).&(L+*#+D.(#)"+#"#+%$*$)%+
.#(+/.&'(+%6"N*"#(2%L+#"#+/eE+.#+'4&%$JL+%+D.%$)"+&*$/I*(+,*+
)&($F"&6(&$*+ G&%$)"+ *#+ .#(+ $"&)(+ ,*+ 6.$*/(+ (6C*%#)(2%J+ <2+
G%NN"+G%&,%+2%+$.%+F.#N*"#*+/"6.#*/()*'%+%+G%&+D.%$)"+E+6"2)"+
,*r/*2%+&%2(N*"#(&2"+(22B*66(H*#%J+A%+,*r/"2)K+#%2+/"6G"&&%+
%+ *6G2%6%#)(&%+ 6.$*/(+ ,*+ D.%$)"+ )*G"+ *#+ 6","+ %/(/%+ $"#"+
%'*,%#)*o+#"#"$)(#)%+/*QL+%$*$)"#"+,*'%&$*+/($*+*#+/.*+.)*2*NN(&%+
2(+F"&6(+(G%&)(+G.Q+&*'%2(&$*+.#(+$/%2)(+"GG"&).#(J
Figura 6. Frame dal gioco The Legend of Zelda:
Ocarina of Time, 1998

32. 34
5.10 Variazioni della forma
(matrici di transizioni)
p#+6%)","+,*+/"6G"$*N*"#%+(r#%+(22(+F"&6(+(G%&)(+E+D.%22"+
/I%+ G&%'%,%+ 2e.)*2*NN"+ ,*+ 6()&*/*+ ,*+ )&(#$*N*"#*J+ <2+ 6")"&%+ ,*+
H*"/"+(#(2*NN(+*+,.%+*#)%&'%#)*+6.$*/(2*+,(+/"22%H(&%+%+$%2%N*"#(+
.#(+C&%'%+)&(#$*N*"#%+(GG&"G&*()(+,(+*#$%&*&%+)&(+2"&"J+A%+)&(//%+
6.$*/(2*+,%'"#"+/"#)%#%&%+6(&x%&$++/I%+/"#)&(,,*$)*#H."#"+
,%*+ 6"6%#)*+ *#+ /.*+ 2(+ )&(#$*N*"#%+ G.Q+ ('%&%+ 2."H"J+ *-p3;€+
+
"O&*'(+.#(+$%&*%+,*+/"6(#,*+,*+D.%$)"+)*G"L+%+#"#"$)(#)%+F"$$%+
.#+ $"vt(&%+ G&"G&*%)(&*"+ D.%$)%+ *,%%+ $"#"+ $)()%+ *#+ $%H.*)"+
*#/"&G"&()%+#%22(+6(HH*"&+G(&)%+,%*+6*,,2%t(&%+%+,%*+6")"&*+,*+
H*"/"J+<#+D.%$)*+$"vt(&%+2%+)&(//%+/"#)%#H"#"+,%*+6(&x%&$+/I%+
*,%#)*R/(#"+*+G.#)*+*#+/.*+G"$$"#"+(''%#*&%+,%*+/(6C*(6%#)*+"+
,%22%+&(6*R/(N*"#*+*#+)%6G"+&%(2%+*#+C($%+(+G(&(6%)&*+,*+H*"/"J+
S.(#,"+'*%#%+&(HH*.#)"+.#+6(&x%&+*2+/"6G.)%&+'%&*R/(+$%+/*+$"#"+
2%+/"#,*N*"#*+G%&+6",*R/(&%+2(+6.$*/(+*#+D.%2+G.#)"o+$%+D.%$)%+
#"#+/*+$"#"L+%$$(+/"#)*#.(+/"$Z%&(+/"6e%&(J+<2+/"6G"$*)"&%+,%'%+
G&%'%,%&%+%+6(GG(&%+).))%+2%+G"$$*C*2*+/"#H*.#N*"#*+)&(+6.$*/I%+
,*'%&$%+(,+.#+D.(2$*($*+6(&x%&L+%+/"6G"&&%+.#+H&(#+#.6%&"+,*+
)&(#$*N*"#*+/"6G()*C*2*+f+$*+)&())(+,*+.#+G&"/%$$"+%$)&%6(6%#)%+
2.#H"J+<2+#.6%&"+,*+)&(#$*N*"#*+,(+/"6G"&&%+G.Q+*#F())*+$(2*&%+
6"2)"+&(G*,(6%#)%J+[(/%#,"+&*F%&*6%#)"+(22B%$%6G*"+*#+RH.&(+
`+(+G(H*#(+?>U+,(22(+$)(#N(+1+*2+H*"/()"&%+G.Q+,*&*H%&$*+*#+$%*+
,*O%&%#)*+,*&%N*"#*L+D.*#,*+/*+$"#"+(2+6*#*6"+(2)&%))(#)*+5.&33-.8
,*&#56{+,*+#."'%+6.$*/I%+G%&+*+,*'%&$*+(6C*%#)*+&(HH*.#H*C*2*J+
!"#$*,%&*(6"+ *2+ /($"+ *#+ /.*+ *2+ H*"/()"&%+ '(,(+ ,(22(+ $)(#N(+ 1+
(22(+$)(#N(+WJ+5"#*(6"+/I%+2(+6.$*/(+,*+1+$*(+.#(+$%D.%#N(+,*+
?c+C()).)%+%+/I%+*2+/(6C*"+,*+6.$*/(+G"$$(+'%&*R/(&$*+$"2)(#)"+
$.2+ G&*6"+ 6"'*6%#)"+ ,*+ .#(+ D.(2$*($*+ ,*+ D.%$)%+ C()).)%U+ *2+
/"6G"$*)"&%+,"'&K+/"6G"&&%+?c+,*'%&$%+)&(#$*N*"#*+G%&+G($$(&%+
,(22(+6.$*/(+,*+1+(22(+6.$*/(+,*+WL+.#(+G%&+"H#*+C()).)(+,%2+)%6(+
,*+1J+A(+)&(#$*N*"#%+(GG&"G&*()(+'%&&K+%$%H.*)(+#%2+6"6%#)"+
*#+/.*+*2+H*"/()"&%+%#)&%&K+#%22(+$)(#N(+WJ+A"+$)%$$"+#.6%&"+,*+
)&(#$*N*"#*+,"'&K+%$$%&%+&%(2*NN()"+G%&+G($$(&%+,(+1+(+!L+,(+1+(+
:L+%+/"$P+'*(J+J+J+%+C*$"H#(+)%#%&+/"#)"+(#/I%+,%2+&*)"&#"+,(+W+(,+
1L+,(+!+(,+1L+%+'*(+,*/%#,"J+T+F(/*2%+/(G*&%+/I%+.#+6%)","+$*6*2%+
#"#+$*(+G&()*/(C*2%+*#+).))%+2%+$*).(N*"#*J
1,+ (HH*.#H%&$*+ (*+ G.#)*+ ,*+ *##%$/"+ /(.$()*+ ,(*+ 6"'*6%#)*+
,%2+ H*"/()"&%+ a/I%+ ,%)%&6*#(#"+ 2e*#)%&())*'*)K+ ,%22(+ 6.$*/(dL+
G")&%CC%&"+(#/I%+%$$%&/*+,%*+5.&33-.6+G&"/.&()*+,(+%'%#)*+a2B*#*N*"+
,*+.#"+$/"#)&"+(+F."/"L+(,+%$%6G*"d+"+(2)&*+G(&(6%)&*+(+/.*+/*+
$*+ &*F%&*$/%+ /"#+ 2B(/&"#*6"+ 75!$33L+ "''%&"+ D.%*+ G(&(6%)&*+ *#+
/"#)*#.(+%'"2.N*"#%+/"6%+/"#)*+(22(+&"'%$/*(L+j5+,%2+H*"/()"&%L+
D.(#)*)K+ ,*+ 6.#*N*"#*+ %+ /"$P+ '*(+ a/I%+ ,%)%&6*#(#"+ *#'%/%+
%!"#-")"&%+,*+H*"/"+
$'*2.GG()"+#%*+G&*6*+
(##*+sb>+G&%$$"+
A./($1&)$
%$"#p#+)&*HH%&fG"*#)+
E+.#+G.#)"+"+F())"&%+
$/()%#(#)%
%%"#7.#f)*6%+
5(&(6%)%&+!"#)&"2$

33. 35
2e$!$55$5&:&5K+ ,%22(+ 6.$*/(dL+ %+ /I%+ G")&%CC%&"+ /"6G"&)(&%+
6",*R/I%+ #%2+ $"#"&"+ %L+ D.*#,*L+ (2)&%+ )&(#$*N*"#*J+ 12/.#%+
)&(#$*N*"#*+ G")&%CC%&"+ %$$%&%+ &*.)*2*NN()%+ *#+ /"&&*$G"#,%#N(+
,*+ ,*'%&$*+ 6(&x%&$o+ (2/.#*+ ,*+ D.%$)*+ G"$$"#"+ %$$%&%+ )"2)*L+ 6(+
.#+#.6%&"+C($$"+,*+G.#)*+,*+*##%$/"+(.6%#)%&%CC%+*2+)%6G"+
#%/%$$(&*"+ (,+ %O%)).(&%+ .#(+ )&(#$*N*"#%+ *#)&",./%#,"+ .#+
&*)(&,"J+5%&+&*,.&&%+2(+D.(#)*)K+,*+2('"&"+#%/%$$(&*(+$*+G")&%CC%&"+
(#/I%+&*.)*2*NN(&%+G(&)*+,%22(+6.$*/(+*#+,*'%&$%+$%N*"#*+,%2+H*"/"L+
"GG.&%+&*G%)%&%+H2*+$)%$$*+*#)%&'%#)*+/"#+6(HH*"&%+F&%D.%#N(L+6(+
D.%$)*+(//"&H*6%#)*+2*6*)%&%CC%&"+6"2)"+2(+D.(2*)K+/"6G2%$$*'(+
,%22(+ /"2"##(+ $"#"&(+ /I%+ G&"C(C*26%#)%+ &*$.2)%&%CC%+ G&%$)"+
G"/"+*#)%&%$$(#)%+%+6"#")"#(J+
5%&+ ;#$.'1"( I#4&#-34+ 2(+ $"2.N*"#%+ E+ $)()(+ /&%(&%+ .#+ $"vt(&%+
,(2+ #"6%+ 3<-39+ /I%+ G%&6%))%+ 2(+ /"6C*#(N*"#%+ ,*+ 6"2)%+
G*//"2%+$%D.%#N%+*#+.#B.#*/(+2.#H(+)&(//*(J+1,+"H#*+$%D.%#N(+
6.$*/(2%+E+($$"/*()(+.#(+2*$)(+,*+(2)&%+$%D.%#N%+/I%+2(+G"$$"#"+
/"#)*#.(&%J+<2+/"6G"$*)"&%+,%'%+*#$%&*&%+*2+)%6G"+%+2(+6%)&*/(+,*+
"H#*+$%D.%#N(+G%&+/"#$%#)*&%+2B(22*#%(6%#)"+,%*+C%()J+8%2+H*"/"+
/*+$"#"+G*M+,*+Xm>+$%D.%#N%+*#+)")(2%L+"H#.#(+,%22%+D.(2*+E+$)()(+
/()(2"H()(+%+"&H(#*NN()(+*#+&%2(N*"#%+(+).))%+2%+(2)&%+%+*#+&%2(N*"#%+
(+ '(&*+ 2(]%&$J+ A%+ $%D.%#N%+ '%#H"#"+ $/%2)%+ &(#,"6*/(6%#)%+
D.(#,"+*2+H*"/()"&%+$)(+F%&6"+*#+.#(+2"/(N*"#%+*#+6","+)(2%+
/I%+2(+6.$*/(+#"#+$*+&*G%)(+6(*+%+/I%+$*+(CC*(+2(+$%#$(N*"#%+,*+
($/"2)(&%+.#+C&(#"+*#R#*)"J+<2+/"6G"$*)"&%+Wh&#+1&'%+A(H*6+
,*/%+(+G&"G"$*)"+,*+D.%$)(+$.(+/"2"##(+$"#"&(U
Ogni gruppo di sequenze può cambiare in qualsiasi
altro gruppo in qualsiasi momento. Ad esempio:
il giocatore si sposta dalla foresta in un’area
deserta. È giorno. Sta suonando la sequenza “forest
day”. Una volta che il giocatore entra nel deserto,
SIM verifica se la musica in esecuzione è associata
a qualche transizione per “desert day”. Se così
fosse, allora quella è la traccia che verrà eseguita
successivamente, altrimenti il software troverà`
automaticamente il percorso più breve per arrivare
a “desert day” attraverso altre musiche relative a
“forest day”.
!"#/2.,%#,"L+ 2%+ 6()&*/*+ ,*+ )&(#$*N*"#%+ G"$$"#"+ %$$%&%+
6"2)"+ %r/(/*+ #%2+ H%$)*&%+ 2%+ )&(#$*N*"#*+ *#+ .#+ H*"/"+ (#/I%+ $%+
&*/I*%,"#"+.#+2.#H"+)%6G"+,*+G*(#*R/(N*"#%L+/"6G"$*N*"#%+%+
G&"H&(66(N*"#%J
%&"#1#(&/I]+9#2*#%+
E+.#+H*"/"+,*+&."2"+
"#2*#%+6.2)*H*"/()"&%+
,*+6($$(+G.CC2*/()"+
%+$'*2.GG()"+,(22(+
[.#/"6+#%2+=>>?
%'"#3(6G2%fC($%,+
<#)%&(/)*'%+-.$*/

34. 36
6. Le funzionalità dell’audio engine
AB$)!&*(-#3&#-+E+D.%22(+G(&)%+,%2+/",*/%+/I%+F(+*#+6","+/I%+*+
'(&*+ %'%#)*+ $"#"&*+ a6.$*/(L+ 3[~L+ ,*(2"HI*d+ '%#H(#"+ *##%$/()*+
,(22%+(N*"#*+,%2+H*"/()"&%L+,(22%+/(&())%&*$)*/I%+,*+$)()"+,%2+$."+
G%&$"#(HH*"L+,(22B*#)%22*H%#N(+(&)*R/*(2%+,%2+H*"/"L+,(2+6")"&%+
R$*/"L+ %)/J+ AB$)!&*( -#3&#-+ G.Q+ %$$%&%+ *#)%&#"+ (2+ 3$%-( -#3&#-+
a*2+ $"vt(&%+ .)*2*NN()"+ G%&+ $'*2.GG(&%+ *2+ H*"/"d+ "GG.&%+ $*+ G.Q+
$/%H2*%&%+,*+.)*2*NN(&%+.#+%&!!4-A$.-‚+H*K+%$*$)%#)%+/"6%+DA&6-+
"+L/IMJ+<#+)%(6+,*+$'*2.GG"+/"#+H&(#,*+&*$"&$%+%/"#"6*/I%+
G.Q+ %$$%&%+ $'*2.GG()"+ %+ H%$)*)"+ ,(+ ,%22%+ RH.&%+ G&"F%$$*"#(2*+
$G%/*(2*NN()%U+ H2*+ $)!&*( ,.*3.$%%-.6L+ *#+ C($%+ (22%+ %$*H%#N%+
$G%/*R/I%+,%2+H*"/"+,(+&%(2*NN(&%J
%("#!"#+6*,,2%t(&%+
$*+*#)%#,%+.#+
$"vt(&%+/I%+F"&#*$/%+
(22%+(GG2*/(N*"#*+
F.#N*"#(2*)K+%+$%&'*N*+
/"6.#*+(HH*.#)*'*
6.1 L’internal looping
AB&#5-.#$4( 4**,&#3+ E+ 2(+ G"$$*C*2*)K+ ,%22Z$)!&*( -#3&#-+ ,*+ F(&+
&*/"6*#/*(&%+.#+C&(#"+D.(#,"+D.%$)"+&(HH*.#H%+2(+R#%+"+.#+
/%&)"+G.#)"+$G%/*R/"J+<#'%/%+,*+&*G&%#,%&%+,(22B*#*N*"+E+G"$$*C*2%+
F(&+ &*G(&)*&%+ 2(+ 6.$*/(+ ,(+ .#+ %$.E-.NO
+ *#+ .#+ G.#)"+ D.(2$*($*+
,%22(+)&(//*(+*#+6","+)(2%+/I%+2B($/"2)()"&%+#"#+G%&/%G*$/(+/I%+
$*+)&())(+,*+.#(+&*G%)*N*"#%J+!"#+.#+.$"+(GG&"G&*()"+,*+D.%$)"+
%$G%,*%#)%+2(+6.$*/(+G.Q+$%6C&(&%+6"2)"+G*M+2.#H(+,*+D.(#)"+
*#+&%(2)K+#"#+$*(U+*2+H*"/()"&%+$%#)%+2B*#*N*"+,%2+C&(#"+D.(#,"+
/"6*#/*(+.#+2*'%22"L+%+#%+$%#)%+2(+R#%+D.(#,"+2"+/"6G2%)(+a"+
D.(#,"+ 6."&%dJ+ 5%&+ ).))"+ *2+ &%$)"+ ,%2+ )%6G"L+ ($/"2)%&K+ .#(+
6.$*/(+/I%+/"#)*#.(+*#/%$$(#)%6%#)%+(+&*G%)%&$*J+5%&+F(&%+*#+
6","+/I%+*2+H*"/()"&%+#"#+$*+(//"&H(+/I%+$*+)&())(+,*+.#+2""GL+2(+
G(&)%+,%2+C&(#"+,(+&*G%)%&%+#"#+,"'&%CC%+,.&(&%+6%#"+,*+`+"+z+
6*#.)*J+2**,+,(22(+,.&()(+G*M+C&%'%+aF&(+*+`>+%+*+c>+$%/"#,*+/*&/(d+
$"#"+.$()*+$G%$$"+#%22%+$/I%&6()%+,%*+6%#.L+*#+/.*+*2+H*"/()"&%+
)&($/"&&%+H%#%&(26%#)%+G"/"+)%6G"J
%)"#p#+/"#)&($$%H#"+
$.22(+)&(//*(
6.2 Il sideways crossfade
p#(+ F.#N*"#%+ ,%2+ 6")"&%+ $"#"&"+ ,*+ .#+ '*,%"H*"/"+ E+ *2+
/"$*,,%))"+6&!-A$"6('.*667$!-L+"''%&"+2(+G"$$*C*2*)K+,*+%O%)).(&%+
.#+ '.*667$!-ƒ+ )&(+ ,.%+ ,*O%&%#)*+ C&(#*+ ,.&(#)%+ *2+ H*"/"+ $%#N(+
/I%+ /*+ $*(#"+ *#)%&&.N*"#*L+ G%&+ 6",*R/(&#%+ 2e()6"$F%&(J+ 1,+
%*"#:*$$"2'%#N(+
*#/&"/*()(

35. 37
%$%6G*"U+*2+/"6G"$*)"&%+/&%(+(22B*#)%&#"+,%2+6-P)-#'-.++.#+C&(#"+
,(2+/(&())%&%+6"&C*,"+%+,*$)%$"o+(+D.%$)"+(HH*.#H%+,%22%+)&(//%+
,*+G%&/.$$*"#*+/I%+&%#,(#"+*2+G%NN"+G*M+*#)%#$"+%+,*#(6*/"J+<2+
/"6G"$*)"&%+%$G"&)%&K+*2+C&(#"+/"#+2(+$.(+'(&*(N*"#%+*#+,.%+R2%+
,*'%&$*+a$"2"+2%+)&(//%+6"&C*,%+%+*2+6*w+/"#+(#/I%+2%+G%&/.$$*"#*dU+
*#+D.%$)"+6","L+(22B*#)%&#"+,*+.#"+$)%$$"+2*'%22"L+*2+G&*6"+G%NN"+
(//"6G(H#%&K+2%+$/%#%+*#+/.*+#"#+/eE+(N*"#%+a(,+%$%6G*"L+.#(+
G($$%HH*()(+*#+.#+C"$/"d+%+*2+$%/"#,"L+/I%+(#,&K+(+$"$)*).*&%+
*2+ G&*6"+ )&(6*)%+ .#+ 6&!-A$"6( '.*667$!-L+ F(&%+ ,(+ $"))"F"#,"+ (*+
6"6%#)*+ ,*+ )%#$*"#%+ a(,+ %$%6G*"L+ .#+ /"6C())*6%#)"+ #%22"+
$)%$$"+ C"$/"+ ,"'%+ $*+ (#,('(+ G($$%HH*(#,"dJ+ Ae"&%//I*"+ ,%2+
H*"/()"&%+G%&/%G*&K+.#+.#*/"+C&(#"+/I%+$*+(&&*//I*$/%+,*+.#(+
)&(//*(+ ,*+ G%&/.$$*"#*+ #%*+ 6"6%#)*+ ,*+ 6(HH*"&%+ )%#$*"#%J+ <2+
6&!-A$"6( '.*667$!-+ E+ D.%22(+ F.#N*"#(2*)K+ ,%22B$)!&*( -#3&#-+ (22(+
C($%+,%22(+)%/#*/(+,*+4$"-.&#3NQ
J
6.3 Istruzioni beat-synchronous
p#B(2)&(+ F%().&%+ $G%$$"+ *6G2%6%#)()(+ #%2+ 6")"&%+ (.,*"+ E+
*2+ B-$586"#'U+ D.%$)(+ G%&6%))%+ (2+ /"6G"$*)"&%L+ /"#+ 2B(*.)"+
,%2+ G&"H&(66()"&%+ "+ ,%2+ 4-:-4( !-6&3#-.RS
L+ ,*+ *#)&",.&&%+ ,%*+
6(&x%&$+(22B*#)%&#"+,*+.#(+)&(//*(+6.$*/(2%J+S.%$)%+*$)&.N*"#*+
,*/"#"+(22B(.,*"+%#H*#%+,*+%O%)).(&%+2%+)&(#$*N*"#*+*#+6"6%#)*+
6.$*/(26%#)%+ *6G"&)(#)*L+ /"6%+ (,+ %$%6G*"+ 2B*#*N*"+ ,*+ .#(+
$G%/*R/(+C()).)(J+<#+D.%$)"+6","+2%+)&(#$*N*"#*+G"$$"#"+%$$%&%+
H%$)*)%+,(+6()&*/*+%,+%O%)).(&%+)%6G"+G%&+$%6C&(&%+#().&(2*+
%'"2.N*"#*+6.$*/(2*+(2+H*"/()"&%J
Sideways crossfade
Passeggiata Combattimento
%+"#3)&()*R/(N*"#%+,*+
$."#*+"+$)&.6%)#*
&,"+<2+2%'%2+,%$*H#%&+E+
2(+RH.&(+G&"F%$$*"#(2%+
/I%+$*+"//.G(+,%22(+
/&%(N*"#%+,%*+2*'%22*+%+
,%22%+(6C*%#)(N*"#*+
,%*+'*,%"H*"/I*

36. 38
6.4 L’effetto di ducking
AB%O%))"+,*+!)'E&#3+/"#$*$)%+#%2+&*,.&&%+*2+$%H#(2%+,*+.#(+)&(//*(+
D.(#,"+/*+$*+)&"'(+*#+G&%$%#N(+,*+.#+(2)&"+$%H#(2%J+S.%$)"+%O%))"+
$*+"))*%#%+(CC($$(#,"+*2+'"2.6%+aF(/%#,"+*2+!)'E&#3L+(GG.#)"d+,*+
.#(+)&(//*(+(.,*"+$%/"#,(&*(+#%2+6"6%#)"+*#+/.*+'*%#%+%$%H.*)(+
.#(+)&(//*(+G*MZ+*6G"&)(#)%L+%+&*(2N(#,"2"+#."'(6%#)%+.#(+'"2)(+
/I%+D.%$)(+E+R#*)(J+<2+!)'E&#3+E+,*+F"#,(6%#)(2%+*6G"&)(#N(+#%2+
6*w(HH*"+*#+)%6G"+&%(2%J
6.5 Il permutation weighting
<2+,-.%)5$5&*#(A-&315&#3++$*+.)*2*NN(+G%&+F(&%+*#+6","+/I%+(2/.#*+
G($$(HH*+ 6.$*/(2*+ "+ 3[~|€+ #"#+ $*+ (,*#"+ )&"GG"+ (2+ 4**,&#3+ %,+
*#+G(&)*/"2(&%+G%&+%'*)(&%+/I%+*2+H*"/()"&%+&*%$/(+(+,*$)*#H.%&%+
/"#+ F(/*2*)K+ *+ $."#*+ F"&)%6%#)%+ /(&())%&*NN()*+ /I%+ $*+ &*G%)"#"J+
S.%$)(+$"2.N*"#%+E+$)()(+.)*2*NN()(+#%22(+/"2"##(+$"#"&(+,*+j(2"+
aW.#H*%L+=>>?d+%+'*%#%+/"$PZ+,%$/&*))(+,(+-(&)]+9B:"##%22+%+(]+
n%*#2(#,U+
“In molte situazioni avevamo diverse tracce
che suonavano insieme (ad esempio una traccia
d’ambiente esterno e una traccia di vento), ognuna
con multiple permutazioni nel loop principale, e
suoni isolati che venivano eseguiti in modo casuale
e venivano collocati casualmente nello spazio
tridimensionale. Una tecnica efficace in questo
caso (che fu utilizzata estensivamente anche nel
campo musicale) è il permutation weighting, ovvero
l'abilità di assegnare probabilità differenti ad
ogni permutazione in modo tale da controllare quanto
spesso una certa permutazione viene eseguita.
Per esempio, poniamo che ci siano sei permutazioni
di un loop in uno spazio esterno con lunghezze
variabili da 2 a 8 secondi per un totale di 27 secondi
di materiale. In uno di questi loop si può sentire
chiaramente il verso di un gufo, che si ripeterebbe
ogni 27 secondi in media, a volte un po’ di meno e
a volte un po’ di più. Se quel verso distintivo si
ripetesse comunque con troppa frequenza, possiamo
utilizzare il permutation weighting per assegnargli
un fattore di probabilità che istruisca il motore
audio a saltare questa permutazione l’x % delle
volte. Aggiustiamo questo valore fino a che potremo
ascoltare quel verso così distinto con una frequenza
che possa sembrare naturale.“
&!"+1/&"#*6"+,*+
3G%/*(2+%O%/)$

37. 39

38. 40
7. L'integrazione
A"+ $)(H%+ R#(2%+ #%2+ G&"/%$$"+ ,*+ G&",.N*"#%+ ,%22B(.,*"+ E+
2B*#)%H&(N*"#%+,*+6.$*/(L+%O%))*+$"#"&*+%+,*(2"HI*+#%2+'*,%"H*"/"J+
S.%$)"+&*/I*%,%+C%#+G*M+,%22(+$/&*)).&(+,*+D.(2/I%+&*H(+,*+/",*/%J+
!"6%+,%$/&*'%+-(&)]+9B:"##%22U
Il processo di implementazione è un grosso lavoro.
. . non si tratta soltanto di “Abbiamo bisogno di
un suono”. Si tratta di “Qui c’`e questo veicolo,
o qui c’`e quest’arma, che ha molte componenti
diverse e molti differenti modi di comportarsi in
un ambiente audio 3D”.
3%/"#,"+ 9B:"##%22+ 2B*6G2%6%#)(N*"#%+ E+ &%$G"#$(C*2%+ G%&+
(26%#"+*2+m>„+,%2+&*$.2)()"+$"#"&"+R#(2%U+*2+6","+*#+/.*+2B(.,*"+
E+ *#)%H&()"+ *#+ .#+ H*"/"+ ('&K+ .#+ *6G())"+ ,%/*$*'"+ $.22(+ $.(+
%r/(/*(J+k*G*/(6%#)%+2B*#)%H&(N*"#%+,%)%&6*#(+/"6%+*2+$"#"&"+
'*%#%+&*/I*(6()"+a())&('%&$"+*+/"$*,,%))*+)&*HH%&$d+%+D.(2*+($G%))*+
,%22B(.,*"+,%'"#"+%$$%&%+6",*R/()*+,(*+G(&(6%)&*+,*+H*"/"J+1,+
%$%6G*"L+/%&)%+6.$*/I%+"+/%&)*+2""G+(6C*%#)(2*+G"$$"#"+%$$%&%+
*##%$/()*+ ,(2+ 2."H"L+ ,(+ '(&*(C*2*+ /"6%+ 2(+ $(2.)%+ ,%2+ H*"/()"&%+
"+ D.%22(+ ,%2+ #%6*/"L+ ,(+ /"#)*+ (22(+ &"'%$/*(L+ ,(+ .#B(N*"#%+ ,%2+
H*"/()"&%+ $)%$$"+ %+ /"$P+ '*(J+ <+ R2%+ /"#+ 2%+ &%H*$)&(N*"#*+ ,%22%+
6.$*/I%+,%'"#"+G")%&+%$$%&%+*#)%H&()*+#%2+'*,%"H(6%+*#+6","+
,(+ G%&6%))%&%+ #.6%&"$%+ /"6C*#(N*"#*J+ <#)%H&(&%+ 2(+ 6.$*/(+
/"6G"&)(+ *#F())*+ 2(+ $.(+ $.,,*'*$*"#%+ *#+ F&(66%#)*+ %+ 2""G+ *#+
6","+,(+/&%(&%+.#(+)&(//*(+/"6G2%$$*'(+,*#(6*/(+())&('%&$"+
2B.$"+,%22%+)%/#*/I%+G&%/%,%#)%6%#)%+,%$/&*))%J+
7.1 L’utilizzo di middleware per
l’integrazione
:*'%&$*+ (2)&*+ %2%6%#)*+ 6.$*/(2*+ G"$$"#"+ %$$%&%+ 6",*R/()*+
*#+ )%6G"+ &%(2%+ ,(2+ 6")"&%+ ,*+ H*"/"L+ /"6%+ H2*+ %O%))*+ :35L+ *2+
)%6G"+ 6%)&"#"6*/"+ %+ 2(+ $)&.6%#)(N*"#%J+ -*,,2%t(&%+ /"6%+
nt*$%L+[-9:+3).,*"L+<31!k+%+(2)&*+'%#H"#"+.)*2*NN()*+$%6G&%+
G*M+ $G%$$"+ G%&+ &*,.&&%+ *+ )%6G*+ %+ *+ /"$)*+ ,*+ G&",.N*"#%+ %+ G%&+
*#)%H&(&%+.#+$"#"&"+G*M+,*#(6*/"+#%2+H*"/"J+<2+$"vt(&%+nt*$%+
,%22(+/"6G(H#*(+/(#(,%$%+1.,*"x*#%)*/L+(,+%$%6G*"L+/"#$%#)%+

39. 41
(H2*+$)!&*(!-:-4*,-.6+,*+&%(2*NN(&%+.#+G&")")*G"+,*+*#)%H&(N*"#%+
,%22B(.,*"+*#+.#(+$*6.2(N*"#%+,%2+H*"/"+G&*6(+/I%+D.%$)"+$*(+
/"6G2%)()"J+ p#+ (2)&"+ ($G%))"+ *6G"&)(#)%+ E+ /I%+ *+ 6*,,2%t(&%+
/"#$%#)"#"+ ,*+ (,())(&%+ 2(+ G&"H&(66(N*"#%+ (.,*"+ (+ 6"2)%+
G"$$*C*2*+G*())(F"&6%+,*+,%$)*#(N*"#%+%+,*+H%$)*&%+2%+G%&F"&6(#/%+
*#+ )%&6*#*+ ,*+ .)*2*NN"+ ,*+ !5p+ %+ 6%6"&*(+ G%&+ "))*6*NN(&%+ 2%+
G&%$)(N*"#*J

40. 42

41. 43
Un esempio pratico:
The Wwise Adventure Game
Parte 3
Le tecniche compositive e gli aspetti
informatici esposti nei capitoli precedenti
sono serviti all’autore come punto di partenza
per la creazione della musica di
Wwise Adventure Game.

42. 44
8. Il gioco
nt*$%+ 1,'%#).&%+ ^(6%+ E+ .#+ '*,%"H(6%+ "G%#f$".&/%{{+
$'*2.GG()"+,(+1.,*"x*#%)*/J
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/I%+&*/I*%,%'(#"+.#+(GG&"//*"+G*M+G&()*/"+(22e(GG&%#,*6%#)"+
,%2+ $"vt(&%L+ G")&%66"+ D.*#,*+ *#D.(,&(&2"+ /"6%+ .#+ H*"/"+
,*,())*/"+F.#N*"#(2%+(22B(GG&%#,*6%#)"+,%2+$"vt(&%+nt*$%J
A(+,*&%N*"#%+(&)*$)*/(+,%2+H*"/"+&(GG&%$%#)(+.#"+$)*2%+*#,*%+.#*/"+
*$G*&()"+(+F&(#/I*$%+/"6%+0kI%+A%H%#,+"F+i%2,(4L+6(+(+C($$"+
#.6%&"+,*+G"2*H"#*+a4*A8,*4"dJ+<2+3$%-,4$"+G&%$%#)(+).))*+*+/2*/IV+
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.#(+H*"'(#%+(''%#).&*%&(+/I%+%#)&(+#%2+'*22(HH*"+,%2+7%H#"+,*+
122%H&"+,%$*,%&"$(+,*+&*$G"#,%&%+(22(+&*/I*%$)(+,*+(*.)"+,%2+-(H"J+
S.PL+)&"'(+*2+[(CC&"+/I%+2%+F"&#*$/%+(2/.#%+,%22%+(&6*+#%/%$$(&*%+
G%&+$/"#RHH%&%+2(+G*(H(+/I%+I(+*#F%$)()"+2e(&%(J+<2+-(H"+G"#%+2%+
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$/"#RHH%&%+ ,*'%&$*+ #%6*/*L+ &(//"H2*%&%+ /I*('*+ %+ (2)&*+ "HH%))*L+
$C2"//(&%+$)(#N%+%+*#R#%+,*$)&.HH%&%+*2+8./2%"L+2(+F"#)%+,*+).))*+*+
6(2*+/I%+Y(H%22(#"+*2+7%H#"+,*+122%H&"J+
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Figura 7. Il logo del gioco

43. 45
9. Le musiche
<2+H*"/"+E+/(&())%&*NN()"+,(22(+G&%$%#N(+,*+,*'%&$%+(6C*%#)(N*"#*+
%+$*).(N*"#*J
A(+ G&*6(+ 6%)K+ $*+ $'"2H%+ *#+ $.G%&R/*%L+ 2(+ $%/"#,(L+ *#'%/%L+
(22B*#)%&#"+,%22(+G&*H*"#%+$"))%&&(#%(J
A(+6*(+$/%2)(+/"6G"$*)*'(+E+$)()(+D.%22(+,*+$.,,*'*,%&%+*+2."HI*+
*#+,.%+6(/&"+/()%H"&*%+G%&+2%+D.(2*+I"+&%(2*NN()"+,*'%&$*+)%6*+
%+ (&&(#H*(6%#)*+ $F&.))(#,"+ (2/.#%+ ,%22%+ )%/#*/I%+ G&%$%#)()%+
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9.1 Allegro Kindom
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$,-.5$+a/(G+mJbd+*#$*%6%+(22(+)%/#*/(+,%2(4$"-.&#3(a/(G+mJld+G%&+2(+
G&*6(+G(&)%+,%2+H*"/"J
1&6"#*/(6%#)%+ 2(+ $)&.)).&(+ E+ )&*G(&)*)(L+ G&%$%#)(+ ,%22%+
)&(#$*N*"#*+$G%/*R/I%+G%&+G($$(&%+,(+.#(+$%N*"#%+(22B(2)&(+"+G%&+
&*G%)%&%+ 2(+ $)%$$(+ *#+ 6","+ '(&*()"+ .)*2*NN(#,"+ ,*'%&$*+ )%6*+ %+
(&&(#H*(6%#)*J
Figura 8. Uno schema riassuntivo delle possibili
combinazioni
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%$$%&%+ (2)%&#()*+ *#+ 6","+ ,(+ #"#+ (O()*/(&%+ )&"GG"+ 2B($/"2)"+

44. 46
"GG.&%+ G"$$"#"+ %$$%&%+ &*G&","))*+ $*6.2)(#%(6%#)%+ *#+ 6","+
,(+/&%(&%+.#(+)%&N(+'(&*(N*"#%J+S.%$)"+)*G"+,*+"&H(#*NN(N*"#%+
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2B(,())(6%#)"+,%22(+6.$*/(+(22(+$*).(N*"#%J
Figura 9. Allegro Kindom
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45. 47

46. 48
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Francesco Corsello
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Ml 1
Ml 2
Perc.
Perc.
Perc.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
13
&
&
/
Bass Drum Temple Blocks
∑
Bass Drum
∑
/ ∑
& ∑ ∑ ∑ ∑
? ∑ ∑
& ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
B ∑ ∑
? ∑
? ∑
‰ œ
J
œ
J
œ
# œ
#
J ‰ œ
J
œ
J œ
˙ œ
J
˙™ ‰ œ
J
œ
# ™ œ œ
b œ™ ‰
Œ œ
# œ œ œ œ
# œ œ
# œ
# œ™ œ
J ˙
# ™ œ ˙
# ™ Œ
œ Œ ‰ œ
j ‰ œ
j
œ Œ Ó
œ
R ≈ ‰ œ
R ≈ œ
R ≈ Œ
œ
R ≈ œ
R ≈ ‰ ‰
œ
R ≈ œ
R ≈ Œ
œ
R ≈ œ
R ≈ ‰ ‰
œ
R ≈ œ
R ≈ Œ
œ
R ≈ œ
R ≈
Œ
œ
œ
J ‰ ‰ œ
œ
#
J
Œ Œ
œ
œ
J ‰ ‰
œ
œ
#
J
œ
œ
#
J ‰
Œ
œ
œ
#
j ‰ ‰
œ
œ
#
j Œ Œ
œ
œ
#
j ‰ ‰
œ
œ
#
j œ
œ
j
‰
œ œ ‰
œ
j œ
j ‰ Œ Ó Œ ‰
œ
j œ œ ‰
œ
j œ
j ‰ Œ
œ
œ
‰ œ
J
œ
J ‰ Œ Ó Œ ‰ œ
J
œ
œ
‰ œ
J
œ
J ‰ Œ

50. 52
°
¢
°
¢
°
¢
{
{
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Ml 1
Ml 2
Perc.
Perc.
Perc.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp ppp
q =85
1
pp
p
p
ppp pp ppp
q =85
ppp pp ppp
p
p
p
&
T A B
∑ ∑
Flute Solo
∑
Francesco Corsello
ms_village_day_explore_amb_tran_ab
& ∑
Celesta
∑ ∑ ?
/ ∑
Bass Drum Tambourine
Temple Blocks
Triangle
Bass Drum Temple Blocks
∑ ∑
/ ∑
Bodhran
∑
& ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ &
& ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑
&
arco
&
arco
B ∑
pizz
∑
? ∑
pizz
∑
? ∑
pizz
∑
Œ œ
b œ œ
b ™ œ
j ˙™ œ ˙ ˙
Ó Œ œ œ œ
b ™ œ
J
˙ ˙ Ó
œ
Œ ‰ œj
‰ œj
‰ œ
J
‰
œj
Ó œ
Œ œ
j‰ Œ
œ
R≈‰ œ
R≈œ
R≈Œ
œ
R≈œ
R≈ Ó Œ ‰ œœœ œ
R≈‰ œ
R≈œ
R≈Œ
œ
R≈œ
R≈ Ó Œ ‰ œœœ
b b
b
Œ œ
b
j Œ œ
j‰ œ
j Œ œ
b
j
Œ œ
j
‰ œ
j
Œ œ
j Œ œ
j‰ œ
j Œ œ
jŒ œ
j‰ œ
j
Œ œ
œ
b
J
Œ œ
J
‰ œ
J
Œ œ
œ
b
J
Œ œ
J ‰ œ
J Œ œ
œj
Œ œ
J ‰ œ
J Œ œ
œj
Œ œ
J ‰ œ
J
œ
b œ
b Œ Ó œ œ Œ Ó œ œŒ Ó œ œŒ Ó

51. 53
°
¢
°
¢
°
¢
{
{
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Ml 1
Ml 2
Perc.
Perc.
Perc.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp
q =85
3
pp
p
p
p
p
p
q =85
&
B1
Violin Solo
ms_village_day_explore_amb_b1
Francesco Corsello
?
Mute
/
Bass Drum Bass Drum
∑
/
Bodhran
& ∑ ∑
Celeste
&
arp
&
Marimba
?
& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
Œ
œ œ œ
b ™ œ
j ˙ œ™ ‰ œ œ œ
b
J
œ œ œ œ ˙™ œ
Ó ‰ œ œ
b
J
œ™ œ
J
œ™ œ
J ˙
b ˙ ˙ ˙
œ Œ ‰ ‰ ‰ ‰ ∑ œ Œ Ó
œ
R ≈‰ œ
R ≈œ
R ≈Œ œ
R ≈œ
R ≈ œ
R ≈‰ œ
R ≈œ
R ≈Ó œ
R ≈‰ œ
R ≈œ
R ≈Œ œ
R ≈œ
R ≈ œ
R ≈‰ œ
R ≈œ
R ≈Ó
Œ œ œ
b ‰
œ
œ
J ‰ œ
œ
J œ œ œ
b œ
œ
b
œ œ œ
œ œ œ
b œ
œ
œ
b ™™ œ
œ
J œ
œ œ œ œ
œ™™ œ
œ
J œ œ
œ œ
b ‰
œ
œ
J ‰ œ
œ
J œ œ œ
b œ
œ
b
œ œ œ
Œ œ
j ‰ ‰ œ
j ‰ œ
b
j Œ œ
j ‰ Ó Œ
œ
j ‰ ‰ œ
j ‰
œ
j Œ
œ
j ‰ Ó
œ
b œ Œ Ó œ œ Œ Ó œ œ Œ Ó œ œ œ
b
J ‰ Ó

52. 54
°
¢
°
¢
°
¢
{
{
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Ml 1
Ml 2
Perc.
Perc.
Perc.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp p
pp
&
?
/
Bass Drum
∑
Bass Drum
∑
/
& ∑ ∑
&
&
?
& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
Œ œ œ œ
b ™ œ
J
˙ œ
J ‰ œ œ
b œ œ
b œ
J
œ œ œ œ ˙ œ
b ™
‰
Ó ‰ œ œ
b
J
œ™ œ
J
œ™ œ
b
J ˙ ‰ œ œ
j
˙ ˙
b
œ Œ Ó œ Œ Ó
œ
R ≈‰ œ
R ≈œ
R ≈Œ œ
R ≈œ
R ≈ œ
R ≈‰ œ
R ≈œ
R ≈Ó œ
R ≈‰ œ
R ≈œ
R ≈Œ œ
R ≈œ
R ≈ œ
R ≈‰ œ
R ≈œ
R ≈Ó
œ
b œ œ œ ‰ œ
œ
J
‰
œ
œ
J œ
b
œ œ
b œ
œ œ œ œ
œ
b œ œ œ
b œ
œ
b ™™ œ
œ
J œ œ œ œ œ
œ™™
‰ ‰ œ
J
œ
b œ ‰ œ
œ
J
‰
œ
œ
J œ
b
œ œ
b œ
œ œ œ œ
Œ œ
j ‰ ‰ œ
j ‰
œ
b
j Œ œ
j ‰ Œ ‰ œ
j Œ
œ
j ‰ ‰ œ
j ‰
œ
j Œ
œ
j ‰ Ó
œ
b œ Œ Ó œ œ
Œ Ó œ œ Œ Ó œ œ œ
b
J ‰ Ó

53. 55
°
¢
°
¢
°
¢
{
{
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Ml 1
Ml 2
Perc.
Perc.
Perc.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp p
q =85
31
pp p
p
p
p
ppp
q =85
ppp
p
p
p
&
B2
Mute
ms_village_day_explore_amb_b2
Francesco Corsello
?
Cello
Bassoon
/
Bass Drum Tambourine
Temple Blocks
Triangle
Bass Drum Temple Blocks
∑
/
Bodhran
& ∑ ∑
Celeste
& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
&
&
B
pizz
?
pizz
?
pizz
‰ œ
b
J
œ
J
œ œ
b
J ‰ œ
J
œ œ œ
b
J œ™ œ
j
‰ ˙ œ™ œ
j
˙
b ™ œ
Œ
œ
b œ œ œ œ œ™ œ
J
œ œ
b œ œ œ œ
b œ œ ˙ œ œ œ
b
J
œ™ œ
œ Œ ‰
œj
‰ œj
‰ œ
J
‰
œj
Ó
œ Œ œ
j ‰ Œ
œ
R ≈‰ œ
R ≈œ
R ≈Œ
œ
R ≈œ
R ≈ Ó Œ ‰ œœœ œ
R ≈‰ œ
R ≈œ
R ≈Œ
œ
R ≈œ
R ≈ Ó Œ ‰ œœœ
œ œ œ œ
œ
œ™™
œ
œ
b
J
œ
b œ œ œ
œ œ œ œ
Œ œ
b
J Œ
œ
J ‰ œ
J Œ œ
J ‰ Ó Œ œ
J
Œ œ
J ‰ œ
J
Œ œ
J
‰ Ó
œ
b œ œ
J Œ
œ
b
J ‰
œ
J œ œ œ
J ‰ Ó œ œ œ
b
J Œ
œ
J ‰
œ
J
œ
b œ œ
J ‰ Ó
œ
b œ Œ Ó œ œ œ
J ‰ Ó œ œ œ
b
J Œ œ
J
‰ œ
b
j
œ
b
œ œ
b
J ‰ Ó

54. 56
°
¢
°
¢
°
¢
{
{
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Ml 1
Ml 2
Perc.
Perc.
Perc.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp p
3
pp p
p ppp
p ppp
p
p
p
&
? &
/
Bass Drum Temple Blocks
∑
Bass Drum
∑
/ ∑
& ∑ ∑
& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
&
&
B
pizz
?
pizz
?
pizz
‰ œ
j œ
J
œ œ
b
J ‰ œ
j
œ
j
œ ˙ œ
b
J
˙
b œ™ œ
J
œ™ œ
b œ œ™ œ
J
Œ œ
b œ œ œ œ œ™ œ
j
œ œ œ
b œ œ œ œ
b ˙ ˙™ Œ
œ
Œ ‰ œ
j ‰ œ
j
œ
Œ Ó
œ
R ≈‰ œ
R ≈œ
R ≈Œ
œ
R ≈ œ
R ≈ ‰ ‰
œ
R ≈œ
R ≈ Œ
œ
R ≈œ
R ≈ ‰ ‰
œ
R ≈ œ
R ≈ Œ
œ
R ≈ œ
R ≈
œ
b œ œ œ
œ
œ™™
œ
œ
j
œ
b
œ œ
b œ
œ œ œ œ
b
b
Œ œ
b
J Œ
œ
J ‰ œ
J Œ œ
J ‰ Ó Œ œ
J
Œ œ
J ‰ œ
J
Œ œ
J
‰ Ó
œ
b œ œ
J Œ
œ
b
J ‰
œ
J œ œ œ
J ‰ Ó œ œ œ
b
J Œ
œ
J ‰
œ
J œ
b
œ œ
b
J ‰ Ó
œ
b œ Œ Ó œ œ œ
J ‰ Ó œ œ œ
b
J Œ œ
J
‰ œ
b
j
œ
b
œ œ
b
J ‰ Ó

55. 57
°
¢
°
¢
°
¢
{
{
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Ml 1
Ml 2
Perc.
Perc.
Perc.
Perc.
Vln. I
Vln. II
Vla.
Vc.
Cb.
pp p
q =85
3
pp
p
ppp pp ppp
q =85
ppp
pp ppp
& ∑
T B C
∑
Mute
∑
ms_village_night_explore_amb_tran_bc
Francesco Corsello
& ∑
Celesta
∑
/ ∑ ∑ ∑ ∑ ∑ ∑
/ ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑ ∑
& ∑
arp
∑
? ∑ ∑
&
arco
&
arco
B ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑
Œ ˙ œ œ ˙™ œ
b ˙ ˙
Ó Œ
œ
b œ
Œ Ó Œ
œ
Œ
œ œ
Œ Œ œ
Œ ‰
œ
j œ
b œ œ œ
b œ
œ
œ
j
‰ ‰
œ
j
œ
œ
j ‰ Œ Œ
œ œ
b œ œ œ œ
b œ
œ
œ
J
‰
œ œ
b œ
œ
œ
j
‰ Œ
œ œ
b œ
J ‰ Ó œ œ œ
J ‰ Ó œ
b œ Œ Ó œ œ Œ Ó
b
b b ˙™ œ
b
1

56. 58
°
¢
{
°
¢
{
™™
™™
™™
™™
Ml 1
Ml 2
Perc.
pp
p
q =85
pp
p
™™
™™
™™
™™
Ml 1
Ml 2
Perc.
pp
&
C1
Violin Solo
ms_village_night_explore_amb_c1
Francesco Corsello
&
Celeste
&
arp
?
&
&
&
?
Œ
œ™ œ œ œ ˙™ œ œ ˙ œ™ œ
J ˙ œ œ œ œ œ
Ó
œ œ œ œ ˙ ˙
Œ
œ œ œ œ œ œ ˙ ˙
Œ ‰
œ
j œ œ œ œ œ
œ
œ
J
‰ ‰
œ
j
œ
œ
œ
j ‰ Œ Œ
œ œ œ œ œ œ œ
œ
œ
J
‰
œ œ
œ œ
œ
j
‰ Œ
œ œ œ
J ‰ Ó œ œ œ
J ‰ Ó œ œ Œ Ó œ œ Œ Ó
˙ œ™ œ œ œ œ ˙ œ™ œ™ ˙ œ™ œ
J
˙
œ™ ‰
Œ
œ œ œ ˙ ˙
Œ
œ œ œ ˙ ˙
Œ ‰
œ
œ
j Ó Œ ‰
œ
œ
j Ó Œ ‰ œ
œ
j Ó Œ ‰ œ
œ
j ‰ œ
œ
j
Œ
œ œ œ
J ‰ Ó œ œ œ
J ‰ Ó œ œ œ
J ‰ Œ ‰ œ
j
œ
œ
œ
J ‰ Ó
11

57. 59
°
¢
{
°
¢
{
™™
™™
™™
™™
Ml 1
Ml 2
Perc.
pp
q =85
3
pp
p
™™
™™
™™
™™
Ml 1
Ml 2
Perc.
&
C2
Clarinet
ms_village_night_explore_amb_c2
Francesco Corsello
&
Celeste
&
arp
?
&
&
&
?
‰
œ
j œ
j œ œ
j ‰
œ
j
˙ ˙ ˙ œ œ œ ˙ œ™
‰
Ó ‰ œ œ
J
œ ˙ ˙
Œ
œ œ œ œ œ™ œ œ œ™ ‰
Œ ‰
œ
j œ œ œ œ œ
œ
œ
J
‰ ‰
œ
j
œ
œ
œ
j ‰ Œ Œ
œ œ œ œ œ œ œ
œ
œ
J
‰
œ œ
œ œ
œ
j ‰ Œ
œ œ œ
J ‰ Ó œ œ œ
J ‰ Ó œ œ Œ Ó œ œ Œ Ó
‰
œ
j
œ
j œ œ
j ‰
œ
j
˙ ˙ ˙ œ œ œ ˙ œ™
‰
Ó ‰
œ œ
J
œ ˙ œ œ œ œ œ œ œ œ œ™ œ
J
Ϫ
‰
Œ ‰
œ
œ
j Ó Œ ‰
œ
œ
j Ó Œ ‰
œ
œ
j Ó Œ ‰
œ
œ
j ‰
œ
œ
j Œ
œ œ œ
J ‰ Ó œ œ œ
J ‰ Ó œ œ œ
J ‰ Œ ‰ œ
j
œ
œ
œ
J ‰ Ó
12

58. 60
9.2 Dungeon
5%&+2(+$%/"#,(+G(&)%+,%2+H*"/"+I"+.)*2*NN()"+.#+(GG&"//*"+$*6*2%+
(22(+G&*6(+)%#%#,"+G%&Q+*#+/"#$*,%&(N*"#%+2(+#().&(+G*M+2*#%(&%+
,%2+ 3$%-,4$"J+ <#+ D.%$)(+ G(&)%+ ,%2+ H*"/"L+ *#F())*L+ $/%#,*(6"+
(22B*#)%&#"+,%2+:.#H%"#+%+$.//%$$*'(6%#)%+(#,*(6"+$"))"+)%&&(+
G%&+,*$)&.HH%&%+*2+#./2%"J+S.%$)(+'"2)(+2(+$)&.)).&(+(&6"#*/(+E+
$.,,*'*$(+ *#+ D.())&"+ G(&)*L+ G&%$%#)(L+ /"6%+ #%22(+ G&%/%,%#)%L+
,*'%&$*+ )%6*+ %+ (&&(#H*(6%#)*L+ 6(+ E+ G&"H%))()(+ *#+ 6","+ ,(+
/&%$/%&%+,*+*#)%#$*)K+6(#+6(#"+/I%+$/%#,%#,"+/*+$*+(''*/*#(+(2+
#./2%"+G%&+2(+C())(H2*(+R#(2%J
Figura 10. I vari ambienti del dungeon

59. 61

60. 62
°
¢
°
¢
{
{
°
¢
{
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Vl I
Vl II
Vla
Cello
Bass
& ∑ ∑ ∑
s ese a e lo e a a
a es o Co sello
& ∑
a a
& ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
? ∑ ∑ ∑
/
Bo e C a
∑ ∑ ∑
/
C es
∑ ∑ ∑
& ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑
?
a o
Ó
w w w
w
w
w
œ
Œ Ó
Œ œ Ó
w w w w

61. 63
°
¢
°
¢
{
{
°
¢
{
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
™™
Vl I
Vl II
Vla
Cello
Bass
q =85
q =85
& ∑
& ∑
& ∑
a
? ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
? ∑ ∑ ∑
/ ∑ ∑ ∑ ∑
/ ∑ ∑ ∑ ∑
& ∑
C o
? ∑
& ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
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62. 64
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63. 65
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64. 66
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65. 67
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66. 68
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