Video games create rich, virtual worlds for players to explore. Game developers have often utilized exoticism, allowing players to experience the “Other” from the comfort of home. Music is a powerful tool to evoke Otherness and can reinforce stereotypes about the past and different cultures. This thesis looks at recent games where developers have collaborated with expert musicians either from the culture depicted or with expertise in historical performance practices. I document two purposes these collaborations can serve. First, the use of expert musicians creates a veneer of authenticity allowing developers to market the games as “authentic” experiences. Second, these collaborations can resist crude musical stereotyping and present more nuanced musical depictions of historical and non-Western cultures. Nevertheless, the hierarchical power structures of game studios can undermine these goals. My case studies explore the nuances of these collaborations, highlighting both the opportunities and pitfalls.
","abstract_html":"<p>Video games create rich, virtual worlds for players to explore. Game developers have often utilized exoticism, allowing players to experience the “Other” from the comfort of home. Music is a powerful tool to evoke Otherness and can reinforce stereotypes about the past and different cultures. This thesis looks at recent games where developers have collaborated with expert musicians either from the culture depicted or with expertise in historical performance practices. I document two purposes these collaborations can serve. First, the use of expert musicians creates a veneer of authenticity allowing developers to market the games as “authentic” experiences. Second, these collaborations can resist crude musical stereotyping and present more nuanced musical depictions of historical and non-Western cultures. Nevertheless, the hierarchical power structures of game studios can undermine these goals. My case studies explore the nuances of these collaborations, highlighting both the opportunities and pitfalls.</p>","abstract_has_math":false,"creators":["Dainko, Tommy"],"institution":null,"degree_name":"M.A. in Music","degree_level":"Masters Thesis","degree_discipline":null,"degree_department":null,"school":null,"contributors":["Zoe Weiss","Jack Sheinbaum","Mitch Ohriner","Alejandro Cerón"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2024,"date_issued":"2024-06-15T07:00:00Z","date_published":"2024-06-15T07:00:00Z","updated_at":"2026-07-24T02:01:48Z","subjects":["Authenticity","Collaboration","Expert musicians","Music","Others","Video games","Arts and Humanities","Game Design","Musicology","Other Music"],"languages":["English (eng)"],"rights":["Copyright is held by the author. User is responsible for all copyright compliance.
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"],"dc:subject":["Authenticity","Collaboration","Expert musicians","Music","Others","Video games","Arts and Humanities","Game Design","Musicology","Other Music"],"dc:title":["Resisting the Historical and Geographical “Other”: The Role of Expertise in Video Game Music"],"thesis:degree_level":["Masters Thesis"],"thesis:degree_name":["M.A. in Music"]},"updated_at":"2026-07-24T02:01:48Z"}