The construction of the modern computer/video game is something that leaves no area underdeveloped. The full experience must be A1 if gamers are going to invest the time required to get into and complete the game.
This link from the BBC site tells us about a concert that is celebrating the range of music that has accompanied computer games over the years. More recent games such as Halo and Zelda are investing a lot of creative exercise in making sure that the music is right...
"The music for videogames has come a long way in 30
years. Blockbuster titles now have bespoke soundtracks composed by
classically-trained musicians, often performed by full orchestras."
What options does this bring to the teacher who wishes to explore the mood that music classical music conveys? Is their scope to move from the mood engendered by the classical music in a game to exploring this learning away from listening to music?
I think that this is an example of how we can make bridges between the semiotic domain (Gee 2003) of the games world that young learners may be knowledgeable about and confident in to a domain, such as classical music, that might not initially be an area that young learners would wish to engage with....
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