{"id":28404,"date":"2025-09-21T08:40:01","date_gmt":"2025-09-21T12:40:01","guid":{"rendered":"https:\/\/www.museumofplay.org\/?p=28404"},"modified":"2025-09-21T08:40:02","modified_gmt":"2025-09-21T12:40:02","slug":"rethinking-the-sound-of-early-video-games","status":"publish","type":"post","link":"https:\/\/www.museumofplay.org\/blog\/rethinking-the-sound-of-early-video-games\/","title":{"rendered":"Rethinking the Sound of Early Video Games"},"content":{"rendered":"\n

I arrived at The Strong National Museum of Play hoping to uncover more about the history of music in early video games\u2014especially those released before 1985, the year the Nintendo Entertainment System launched in North America. I was particularly interested in games created by Atari in the 1970s and early \u201980s. Many accounts of video game music history follow a familiar narrative: sound moves from silence to fully integrated musical scores, evolving in lockstep with technological advances. It\u2019s an appealing story\u2014a steady march toward sophistication\u2014but I wondered whether it was too<\/em> tidy. Was music truly a priority for early game developers, or are we imposing a teleological narrative in hindsight, projecting our present-day assumptions onto a past that never shared them?<\/p>\n\n\n\n

Over the course of a week immersed in The Strong\u2019s exceptional archives\u2014including the papers of Carol Kantor, Carol Shaw, Steve Kordek, and Mark Lesser, as well as an expansive collection of Atari design documents and internal memos\u2014I began to see these questions in a new light. The word music appears rarely in these early materials, and when it does, it\u2019s often interchangeable with other terms\u2014sound, tone, jingle, beep, tune, even thump. At times, what we would now call a sound effect is labeled as music in developer notes. These documents aren\u2019t sloppy\u2014they simply come from a time before today\u2019s distinctions between \u201csound effects\u201d and \u201cmusic\u201d had crystallized in game design discourse.<\/p>\n\n\n\n

What struck me most was how little evidence exists that music was seen as essential to game design in the first place. It\u2019s not just that it was technically difficult to implement; it doesn\u2019t seem to have been a conceptual priority. A handwritten page of notes by Ed Logg\u2014creator of Asteroids<\/em> and Centipede<\/em>\u2014lists qualities of \u201cGreat Games\u201d but makes no mention of sound at all. Elsewhere, Atari\u2019s internal memos go months at a time without referencing audio. Sound was present, of course, but it was rarely dwelled upon.<\/p>\n\n\n

\n
\"Handwritten
\u201cGreat Games Have\u201d list by Ed Logg, about 1982. The Brian Sutton-Smith Library and Archives of Play at The Strong National Museum of Play, Rochester, New York.<\/figcaption><\/figure><\/div>\n\n\n

More telling still is a 1980s press release for Atari\u2019s 5200 console, which trumpets two \u201crevolutionary features\u201d: a Trak-Ball controller and a Voice Synthesizer module. The release boasts that voices would become \u201can integral part of game play, not just a sound generator,\u201d promising \u201cthe ultimate in video game realism.\u201d It\u2019s hard to miss the implication: the sonic future Atari envisioned was one of simulated speech, not music. Voice, not melody, was framed as the pinnacle of immersion.<\/p>\n\n\n

\n
\"Atari
Atari 5200 Product Release, June 6, 1982. The Brian Sutton-Smith Library and Archives of Play at The Strong, Rochester, New York.<\/figcaption><\/figure><\/div>\n\n\n

This reorients the traditional narrative. Perhaps the Holy Grail of early game sound wasn\u2019t music at all; perhaps it was voice. From that perspective, adding background music to a perilous jungle or the far reaches of outer space might have seemed artificial\u2014or even at odds with the era\u2019s growing emphasis on realism in game design, a trend that became especially clear during my time at The Strong. This raises broader questions. To what extent have our expectations of game audio been shaped by film, a medium in which music gradually came to be understood as essential? And what does it mean when the soundscape of early games resists those same expectations?<\/p>\n\n\n\n

I haven\u2019t finished puzzling through these questions. But that\u2019s precisely what made the fellowship so valuable: the time and space to reflect, reframe, and reconsider.<\/p>\n\n\n\n

One of the greatest pleasures of my week in this regard was the camaraderie that developed with fellow research fellow Kristin Fitzimmons. Though our projects came from different disciplines, our daily conversations\u2014sometimes at the archives, sometimes over dinner\u2014became a kind of informal salon. We exchanged observations, challenged each other\u2019s assumptions, and helped refine the ideas that were still half-formed in our own heads. In a field like mine, where research is often a solitary pursuit, that kind of dialogue was invigorating. It sharpened my thinking and reminded me that scholarship isn\u2019t just better when shared\u2014it\u2019s shaped by the sharing.<\/p>\n\n\n\n

By: Andrew Schartmann, 2025 Valentine-Cosman Research Fellow at The Strong National Museum of Play<\/em><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

I arrived at The Strong National Museum of Play hoping to uncover more about the history of music in early video games\u2014especially those released before 1985, the year the Nintendo Entertainment System launched in North America. I was particularly interested in games created by Atari in the 1970s and early \u201980s. Many accounts of video game music history follow a familiar narrative: sound moves from silence to fully integrated musical scores, evolving in lockstep with technological advances. It\u2019s an appealing […]<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"27110,14350,8783,7582,9034,8009","_relevanssi_noindex_reason":"","_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[47,48,368,49],"tags":[],"class_list":["post-28404","post","type-post","status-publish","format-standard","category-brian-sutton-smith-library-and-archives-of-play-at-the-strong","category-electronic-games","category-research-fellow","category-video-games","entry","has-post-thumbnail"],"acf":[],"yoast_head":"\nRethinking the Sound of Early Video Games - The Strong National Museum of Play<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.museumofplay.org\/blog\/rethinking-the-sound-of-early-video-games\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rethinking the Sound of Early Video Games - The Strong National Museum of Play\" \/>\n<meta property=\"og:description\" content=\"I arrived at The Strong National Museum of Play hoping to uncover more about the history of music in early video games\u2014especially those released before 1985, the year the Nintendo Entertainment System launched in North America. 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