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In addition to our podcasts, learn about more research findings in our videos. https://images.squarespace-cdn.com/content/v1/5d494746d136f200017444ee/1571943820833-SPFS60PFNAK7BT91K2VU/close-up-control-controller-2106216.jpg Home - WHAT WE DO Find out about our research projects, team and what we’ve learned so far about the connections between music and video games. https://images.squarespace-cdn.com/content/v1/5d494746d136f200017444ee/38925975-8a63-4687-9433-b1839e2290db/Final.png Home https://www.gamemusic101.com/videos daily 0.75 2025-11-14 https://images.squarespace-cdn.com/content/v1/5d494746d136f200017444ee/b17ea952-916d-4676-9f50-7d09c9c2d89e/Final.png Videos https://www.gamemusic101.com/contact daily 0.75 2025-11-20 https://images.squarespace-cdn.com/content/v1/5d494746d136f200017444ee/1568332392383-9Z4D6ZA1WL7NF8QB2Q2G/IMG_5804%252B2.jpg Contact https://images.squarespace-cdn.com/content/v1/5d494746d136f200017444ee/2ff98767-87c7-4249-8e60-1d3cc27cb104/Final.png Contact https://www.gamemusic101.com/projects-presentations daily 0.75 2025-12-10 https://images.squarespace-cdn.com/content/v1/5d494746d136f200017444ee/1566214018581-K326CD2YE4AJ6OWRFYKE/Assassins-Creed.jpg Projects & Presentations - Music as (Temporal) Disruption in Assassin’s Creed In the Assassin’s Creed game series, the player’s historical narrative is viewed through the lens of a modern-day sub-plot: the protagonist is connected to a device in a research lab which is able to access and enhance their ancestors’ memories. Throughout the game, the player is reminded of the strain caused by this machine through a variety of sound effects and visual distortions. The music of the series also invokes disruptions: while historical music styles are used to suggest the time period and geographic setting of the game (such as Gregorian chant in the original Assassin’s Creed game, set in Jerusalem during the Crusades), these historical snippets are subsumed within electronic music featuring digitally-altered sounds, rapid rhythmic pulses (suggesting an accelerated heartbeat), and abrupt transitions from loud to soft. The resultant blend creates a disconnect for the player: a bleeding-over of ancient with modern. This paper argues that the juxtapositions, interruptions, and disruptions within this music, as well as other musical features such as the rhythm, tonality, and digital instrumentation, invoke a sense of aural discomfort in the player which is intended to mimic the protagonist’s mental and physical distress. Paper given at MusCan conference, May 2018. Dr. Stephanie Lind. Download PDF or read online https://images.squarespace-cdn.com/content/v1/5d494746d136f200017444ee/1566214048964-REWEVIJ2IF0CHQHQ52TS/stronghold-3.jpg Projects & Presentations - Creating Worlds: Medievalisms in Fantasy-Genre Video Gaming “Fantasy” as a genre is often grounded in a modern-day re-interpretation of Medieval style. This paper examines this lens of medievalism through analysis of songs from video games both implicitly and explicitly identified as “Medieval”, examining the role of these musical medievalisms in communicating elements of the in-game mythology and narrative. Delivered at Congress 2016 (Canadian University Music Society), June 3rd, 2016. Dr. Stephanie Lind. Download PDF or read online https://images.squarespace-cdn.com/content/v1/5d494746d136f200017444ee/1566214072961-O2Q2LBH9YBWB3802YKNC/Game+Music+101+Profile+Image.png Projects & Presentations - Video Game Analysis at 2019 NACVGM Stephanie Lind and research assistants Andrew Bennett and Kaitlin Saari presented papers on video game analysis at the 2019 North American Conference on Video Game Music. The conference was live-tweeted with the hashtag #NACVGM, and their video presentations are available through their Youtube channel, Game Music Queen’s . https://images.squarespace-cdn.com/content/v1/5d494746d136f200017444ee/1568242609266-LWW8O10WWXURDTIDON6O/background-beverage-coffee-1409693.jpg Projects & Presentations - Special Issue: The Soundtrack Guest editor: Dr. Stephanie Lind Estimated Publication Date: January 2020 While music in many video games is often designed to seamlessly embed into the player’s experience, thus contributing to immersion, in some games music functions instead as a disruption, interrupting the gameplay experience. For example, in rhythm games such as Guitar Hero, these disruptions function as cues to the player about their progress through a level game; a failed level means that the audio is cut (literally disrupted). But in subtler cases, musical disruptions may function as anachronisms, or as dramatic contrast meant to emotionally engage the player. For example, in Assassin’s Creed, electronically-distorted music and sounds are a reminder to the player that their character is a modern-day victim transported virtually to the past through memory. In Battlefield 1’s ‘Flight of the Pigeon’, a shift of orchestration from percussion-heavy, low-register brass and strings to a higher-register piano is a dramatic contrast that highlights the shift from human to bird perspective, disengaging the player from the heavy emotional impact of battle to a spacious, uplifting moment of freedom. These musical disruptions can signal elements of narrative, of success versus failure in gameplay, of changes in perspective and more. 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His work examines how video games destabilize conventional binaries, such as success and failure, and subvert player expectations through both design and player practice. Hamidreza joined Dr. Stephanie Lind’s research team in Winter 2024. He has created three video projects for Game Music 101 and presented one of them, “The Voice as a Lure: Chanting Winged Dames and Musical Deception in Elden Ring,” at LUDO 2025. Hamidreza also manages social media for Game Music 101. https://images.squarespace-cdn.com/content/v1/5d494746d136f200017444ee/1572657171175-ODLOL933F22VWA0PNWMP/Dr.+Lind+%28Upstairs%29.jpg Team - Stephanie Lind Dr. Stephanie Lind is an Associate Professor of Music Theory and Analysis at the Dan School of Drama and Music, Queen’s University, where she teaches a variety of courses in music theory and musicology. Her research interests include video game music, transformational theory, and contemporary Canadian art music. She is currently also the President of the Canadian University Music Society. An active presenter at conferences including the North American Conference on Video Game Music and Congress, her research touches on immersion, diegetic sound, and popular culture references in video game music. Unlike much research in ludomusicology, her work, as a music theorist, focuses strongly on musical structure and its impact on player experience. Dr. Lind’s current research is a SSHRC-funded research project on tropes in the music of video games. 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