At time of writing, I’m surrounded by boxes and a small pile of my personal belongings. I’ve known that tomorrow was coming for months, and I’m not unhappy that it has, but I have a feeling that its impact won’t fully hit me until it’s over. Tomorrow, I will be leaving London.
It’s been three months since last so I figured it’s time to make another crossfade of music as streams of consciousness. Mostly films this time, as I haven’t quite found the time to play as many video games. There’s also been a relative lack of games which have interested me.
Pillars of Eternity is one of those games that prove the Kickstarter funding path to be viable. That, perhaps, is what’s most important about it, but there are nevertheless a lot of other things that are interesting, to say the least.
I think spending too much time on the internet can divorce a person from the real world. We get into a state where basic human empathy isn’t in gear because it’s not used to online communication. This gets worse the more different you are. We’re trying our best to make our entertainment media more accepting, and it has its ups and downs.
Having played the piano for most of my life, it’s become an indivisible part of who I am, more than just an activity. It’s been a while now, and the instrument and I are more entwined than ever. Sometimes I rely on it to express feelings for which there are no words, or those which should not be talked about.
This article is my examination and explanation on how musical form is utilised in much of modern media music (i.e. in video games and motion pictures). It includes a basic introduction to musical form itself and then follows up with the recommendations I follow myself.
© Raniel Dan MMXXII.