With the history and recent events regarding the growth in the number of orchestral scores composed by trained composers and the prevalence of performances of these video game scores and soundtracks in concert venues, the development of video game music as an independent art form is clear. No one has been more responsible for the most recent developments over the past five years than Tommy Tallarico (1968), video game composer, television personality, conductor and promoter. Joining forces, Tommy Tallarico and Jack Wall created “Video Games Live” (VGL), a concert series created and produced by these two industry veterans and videogame composers. The genesis of VGL was to help encourage and support the culture and art of videogame music. VGL features music from over 50 major titles with each featured segment including a compilation of projected video footage, synchronized lighting and on-stage interactive segments with the audience.

The greatest impact that has been experienced in the concertizing of videogame music is attributed to “Video Games Live,” which boasts at being the largest and most successful videogame concert series in the world. For concert goers who follow the development of videogame music, this series provided opportunities for over 300,000 people around the world to enjoy concert versions of some of the finest orchestral videogame scores. This new and creative media experience made its debut on July 6, 2005 at the Hollywood Bowl. This watershed performance featured the Los Angeles Philharmonic Orchestra. The 11,000 audience members filled the iconic outdoor California concert arena in the largest videogame concert to date. Tallarico’s advances in providing concert and multimedia performances of videogame music included performing outside of the country of the composers’ origins. He took these performances globally. “Video Games Live” became the first videogame concert series to occur in Canada, the United Kingdom, Brazil and New Zealand. The sheer scope of these performances is reflected in the fact that VGL was the first American videogame concert to perform in Asia at the 12,000 seat Olympic Park Stadium in Seoul, South Korea.

One highly developed aspect of the performance is the number of videogame scores that are represented. The concert features a broad spectrum of videogame music, including Final Fantasy, Halo, World of Warcraft, Sonic the Hedgehog, The Legend of Zelda and Metal Gear Solid. It even looks back and includes early arcade games such as Tetris and Asteroids.

Unlike earlier concerts of videogame music, there is a conscious effort to present the concertgoers with a multimedia experience by including video footage from the games with the concertized music from their respective soundtracks. Also unique to VGL and a significant growth and development beyond earlier concerts is the number of performance organizations that are involved. They include Los Angeles Philharmonic, Hollywood Studio Symphony, the Mormon Tabernacle Choir, the Hungarian National Philharmonic Orchestra, the London Philharmonic Orchestra, the English National Ballet Orchestra, the Hollywood Bowl Orchestra, the National Symphony Orchestra, the Houston Symphony Orchestra, the Royal Scottish National Orchestra, the National Taiwan Symphony Orchestra and the Budapest Chamber Choir.

In conclusion, musical scores and soundtracks for videogames have been created by an exciting, innovative new generation of composers born in the final decades of the 20th century, whose artistic works now make up one of the largest and most popular forms of digital global media today. Not only have highly trained and innovative composers, orchestrators and arrangers engaged in this exciting new digital art form, but their work and the popularity of these works has also spawned a generation of orchestras and conductors who perform them in recording studios, concert halls and on tours around the world.

The scores and soundtracks for videogames share lineage with film, musical theatre/opera, cantatas/oratorios, symphonies, electronic and experimental “art music,” formerly restricted to professional, conservatory and university concert/recital halls. The dramatic musical soundtracks of videogames continue to propel action, set tone and mood as well as underscore and introduce characters thematically and in a variety of artistic ways.

“Digital media and entertainment,” here to stay or a fleeting short-lived trend? The answer is quite clear as we view and engage in the exponential growth of new digital and knowledge-worker age of the 21st century. Certainly do not forget Bach, Beethoven, Brahms, Bartok and Bernstein but embrace and enjoy this fascinating and new artistic form of digital musical media—the music of videogames. With the conductors downbeat, grab your controllers and “Let the Games Begin!”

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