Until now, research into the structure of game music has been conducted mainly from the perspective of industrial and technological history, but most of it has been permeated with a progressive view of history that says "game music has progressed so much," and countless things have been overlooked. Whether it's classical music, rock, jazz, or any other genre, music history always shows its relationship with contemporary society and culture. However, the progressive view of history inevitably skips over this point. That's why this book focuses on the genealogy of values and beliefs embedded in game music. If this is not made clear, the history of game music will remain forever imprisoned in the prison of functionalism and impressionism.

--From the Introduction

The structural model of game sound that we ultimately present should be the best answer we can currently give to the question, "What is the essence of game music?"

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table of contents

Introduction──What is game music?
Prologue: When "the best noise" existedChapter 1: The necessity of sound - game sound before video gamesChapter 2: Electromechanical sound and video game soundChapter 3: Until background music became established in video gamesChapter 4: Video game sound that wants to become "film"Chapter 5: Game music on recordChapter 6: The structure of "talking about game music"Chapter 7: Mechanics/Signal/WorldAfterword