Research Fields

Different sources were helpful for this report and a useful division of the research can be made into academic, theoretical based research (generative, aleatory music regrouped under the meta category of algorithmic music) and one focusing on media and publications that fit the form of the release version of The Aquatic Museum (TAM) app. The final form of the app will be a hand drawn three minutes video clip with an evolving, changing title song, The Souvenir Shop.

Only focusing on adaptive audio and music as used in TAM video app could have filled this research (e.g. for an application of a game audio engine1 in theater) but I was more interested in focusing on one of the trademarks of music found in video games: random, chance features that are also found in music making software and apps, characteristic which I also tied into in my teaching research in Part II on this website.

The TAM app is based around Astrid Rothaug’s original short animated film and follows a linear timeline with timed interactions that will influence the music it can also be tied to experiments in film (e.g. interactive Netflix shows). The TAM app is in fact only one element from the TAM album release, a three-minute teaser that give an insight in the creative process and offers different views2 on the same song.


  1. Swift, S. (2018). FMOD, an Audio Engine for Video Games, Adapted for Theater. The 59th Annual USITT Conference. ↩︎

  2. for an original approach cf. Beck’s album in 2012 only released as sheet music and left to fans to perform. ↩︎