{"id":196,"date":"2025-09-01T09:00:53","date_gmt":"2025-09-01T08:00:53","guid":{"rendered":"https:\/\/blogs.napier.ac.uk\/sounddesign\/?p=196"},"modified":"2025-04-17T17:59:27","modified_gmt":"2025-04-17T16:59:27","slug":"diegetic-music-in-games","status":"publish","type":"post","link":"https:\/\/blogs.napier.ac.uk\/sounddesign\/2025\/09\/01\/diegetic-music-in-games\/","title":{"rendered":"Playing Along: When Music Is Part of the Game World"},"content":{"rendered":"

\u201cWe talk about music that originates from within the diegesis \u2014 and not from some non-diegetic player outside of it.\u201d
\n\u2014 Axel Berndt<\/p>\n

In a guest lecture on game audio, Dr.-Ing. Axel Berndt examined the role of diegetic music \u2014 music that exists within a game\u2019s fictional world and can be heard, performed, or even disrupted by its characters. This kind of music, Berndt argued, is not background or emotional subtext. It is part of the world itself.<\/p>\n

Berndt, is a member of the Center of Music and Film Informatics<\/a>\u00a0within the Detmold University of Music, working at the intersection of sound design, musical interaction, and adaptive systems. His lecture brought together commercial examples, music-theoretic distinctions, and design considerations to illustrate how music behaves differently when it belongs to the world rather than framing it from outside.<\/p>\n

\"Dr.<\/a><\/p>\n

Inside the World: What Makes Music Diegetic<\/h3>\n

Diegetic music refers to music that originates within the game\u2019s diegesis \u2014 its fictional environment. Berndt described it as everything \u201cwithin this world\u201d: sounds that characters can hear and react to, including wind, speech, and music performed or played through in-world devices.<\/p>\n

\u201cIf someone switches the radio on, triggers the music box, sings a song, or plays an instrument\u2026 their music is also diegetic.\u201d<\/p>\n

Examples included a street musician in The Patrician, a pipe player at a party, and the bard at the start of Conquest of the Longbow<\/em>. In Doom 3<\/em>, a gaming machine plays music within the scene; in Oceanarium<\/em>, a robot performs in a clearly defined virtual space. These are not aesthetic flourishes \u2014 they anchor music in the logic of the world.<\/p>\n

Berndt contrasted this with non-diegetic music, which accompanies a scene without being part of it \u2014 such as a film score swelling during a battle. \u201cThere is no orchestra sitting on an asteroid during the space battle,\u201d he remarked, highlighting the artificiality of non-diegetic scoring in game environments that otherwise strive for realism.<\/p>\n

Sound That Can Be Interrupted<\/h3>\n

Once music is part of the world, it becomes subject to physical space, interruption, and interaction.<\/p>\n

\u201cThe simplest type of interaction may be to switch a radio on and off, but there is much more possible.\u201d<\/p>\n

Berndt categorised musical interactions as either destructive \u2014 disrupting a performance \u2014 or constructive, where player input enriches or alters the musical output. In Monkey Island 3<\/em>, players must stop their crew from singing an extended shanty by choosing responses that are woven into the rhyme scheme. Each interruption is musical and interactive.<\/p>\n

\u201cThe sequential order of verses and interludes is arranged according to the multiple choice decisions the player makes.\u201d<\/p>\n

Such scenes turn performance into a mechanic. Music is not a layer applied to gameplay \u2014 it is the gameplay.<\/p>\n

When Music Isn\u2019t Polished \u2014 And Why That Matters<\/h3>\n

Berndt emphasised that diegetic music should not always sound flawless. Live performance in reality includes irregularities: tuning fluctuations, missed notes, imperfect timing. Simulating this can enhance believability.<\/p>\n

\u201cFluctuations of intonation, rhythmic asynchrony, wrong notes \u2014 these things simply happen in life situations. Including them brings a gain of authenticity.\u201d<\/p>\n

He cited the harmonica player in Gabriel Knight<\/em>, whose wavering tone subtly reinforces the impression of a street musician with limited technical control. Imperfection isn\u2019t failure \u2014 it is context-aware design.<\/p>\n

Berndt also warned against repetitive loops that expose the limits of a system. When the player leaves and re-enters a scene, and the same music starts again from the beginning, the world appears frozen. \u201cWe reached the end of the world,\u201d he said. \u201cThere is nothing more to come.\u201d<\/p>\n

To counter this, he advocated techniques such as generative variation, asynchronous playback, and music that continues even when not audible \u2014 preserving the impression of an autonomous, living environment.<\/p>\n

Games Where Music Is the Environment<\/h3>\n

Berndt\u2019s second category of diegetic music is visualised music \u2014 where players engage not just with music in the scene, but with music as the environment itself. This includes rhythm games like Guitar Hero<\/em>, Dance Dance Revolution<\/em>, and Crypt of the Necrodancer<\/em>, where music structures time, space, and action.<\/p>\n

\u201cWhat we actually interact with is music itself. The visuals are just a transformation \u2014 an interface that eases our visually coined interaction techniques.\u201d<\/p>\n

In Audiosurf<\/em>, players import their own tracks and race through colour-coded lanes shaped by the waveform. In Rez<\/em>, players shoot targets that trigger rhythmic events. These games represent a shift from music as accompaniment to music as system.<\/p>\n

\u201cThe diegesis is the domain of musical possibilities. The visual layer follows the routines of the music.\u201d<\/p>\n

Berndt emphasised that this kind of interaction demands careful timing, expressive range, and sometimes even simplification to make musical gameplay accessible.<\/p>\n

From Instruments to Systems<\/h3>\n

Not all music-based interaction takes the form of traditional games. Electroplankton<\/em> allowed Nintendo DS users to create sound patterns through direct manipulation \u2014 drawing curves, arranging nodes, or triggering plankton-like agents.<\/p>\n

\u201cInterestingly, all these concepts don\u2019t really need introduction. Give it to the players, let them try it out, and they will soon find out by themselves how it works.\u201d<\/p>\n

Berndt distinguished between note-level interaction (e.g. triggering individual sounds, as in Donkey Konga<\/em>) and structural interaction, where players influence arrangement, progression, or generative systems. Both approaches are valid, but they ask different things of the player \u2014 and of the designer.<\/p>\n

Designing with Music in Mind<\/h3>\n

Berndt\u2019s lecture underscored a recurring principle: if music is situated in the world, it should behave accordingly. It must continue when out of frame, shift based on player presence, and reflect changes in the environment. When music is visualised or systematised, it should offer feedback and form, not simply decoration.<\/p>\n

\u201cMusic as part of the world has to be interactive, too.\u201d<\/p>\n

This is not a stylistic preference \u2014 it is a design commitment. When music is embedded in the rules of the world, it becomes not only more believable, but more meaningful. It can reflect character, reinforce consequence, and establish rhythm within both narrative and mechanics.<\/p>\n

Berndt\u2019s examples \u2014 from Monkey Island<\/em> to Rez<\/em>, from ambient performance to interactive music toys \u2014 show how music can operate on multiple levels at once: as texture, mechanic, and presence. His lecture made clear that diegetic music in games is not a solved problem or a historical curiosity. It remains a rich site for experimentation and design.<\/p>\n","protected":false},"excerpt":{"rendered":"

In this guest lecture, Dr. Axel Berndt explored diegetic music in games \u2014 music that exists within the game world and can be heard, performed, or interrupted by its characters. Drawing on examples from Assassin\u2019s Creed, Monkey Island, Rez, and Audiosurf, Berndt argued that when music is part of a game\u2019s world, it must behave like any other in-world element: responsive, situated, and subject to variation. With insights into performance imperfections, structural interaction, and visualised sound systems, the lecture challenged designers to treat music not as a backdrop, but as a playable, expressive part of the narrative space.<\/p>\n","protected":false},"author":433,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","footnotes":""},"categories":[25,6,1,12],"tags":[],"class_list":["post-196","post","type-post","status-publish","format-standard","hentry","category-music","category-online-guest-lectures","category-uncategorised","category-video-games"],"yoast_head":"\nPlaying Along: When Music Is Part of the Game World - Sound Design at Edinburgh Napier University<\/title>\n<meta name=\"description\" content=\"How does music behave when it belongs inside the game world? 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