The Big List 2026: Resources for Game Music Composers

Grammy Award-winning video game composer Winifred Phillips, working in her music production studio at Generations Productions LLC.

By Winifred Phillips | Contact | Follow

Poster for the Capitol Hill event, "The Highest Score: The Composers of the Video Game Industry" - presented by the Electronic Software Association and Electronic Arts. Included in the article by Grammy award-winning game composer Winifred Phillips.Hi!  I’m video game composer Winifred Phillips, and this past September I traveled to Washington D.C.  I’d been asked, as the current winner of the Grammy Award for Best Video Game Soundtrack, to speak in the Congressional Auditorium of the Capitol Building, at an event advocating for the importance of video game music.  It was an enormous honor!  Alongside a panel of fellow Grammy Award winners and nominees, we discussed the process of composing for games, sharing stories and memories while doing our best to help lawmakers understand the inherent creativity and expertise involved in crafting a video game musical score.

Participating in panels and discussions like this one has always been very inspiring for me.  I’m grateful to be a part of this amazing professional network of game audio wizards, as they continually innovate and share ideas with boundless enthusiasm and generosity.  Through a lively exchange of ideas over time, the game audio profession has built a deep reservoir of knowledge and experience that enriches the entire community.  With that in mind, I’d like to use this article to share a collection of resources that I’ve gathered from across the internet, providing both educational enrichment and inspiration for game audio folks.  We’ll start with a collection of informative conferences that include rich game audio content.  Then, we’ll move to an assortment of music festivals and symphony concerts dedicated to music from video games.  We’ll include a couple of awesome organizations that are serving the needs of game audio scholars and researchers.  And finally, we’ll lay out all the vibrant online discussion forums and helpful communities ready to assist game audio practitioners.  So let’s get started!

GAME AUDIO CONFERENCES

Illustration included in a discussion of conference events in the video game industry, as discussed in the article by Grammy-winning game composer Winifred Phillips.

Here’s a list of the game industry conferences that currently offer content directly related to game audio and music (both creation and implementation).  Most of these events are focused solely on game audio, while a few others offer game sound as a part of a larger portfolio of lectures and discussions encompassing the entire discipline of video game development.  I’ve also included a few videos (when available) of representative lectures and panels from the past few years.

GDC Festival of Gaming

Formerly known the Game Developers Conference, the GDC Festival of Gaming is a cross-disciplinary event for game developers.  The conference includes a track focused on the disciplines of both game music composition and game audio creation.  This year’s GDC event is offering less-expensive pass options than were available in previous years, and an extra focus on off-site events around the city of San Francisco.  As an example of past lectures in the game music track, here’s my lecture from GDC 2024 about my music for the video game Jurassic World: Primal Ops.

Audio Developer Conference

This event concerns itself with music and audio equipment and technologies, from music creation software to audio and music hardware, along with the research and scholarship needed to advance the science of audio technology development.  If you’re a technically-minded composer who likes lots of intricate detail about equipment and tools, this event is for you.  Here’s an example talk that delves into the highly technical process of building a music synthesizer as a spiritual successor to the famous OSCar synth musical instrument.

ADCx Gather

This is a free one-day virtual conference that allows attendees to get a taste of the larger Audio Developer Conference while attending shorter technical sessions that focus on specific aspects of music and audio technology.  The latest ADCx Gather event featured lectures on music interactivity design and procedural game music.

Audio Engineering Society Convention

There’s no denying that composers nowadays need music and audio gear.  As the premiere convention for music and audio technology and equipment manufacturers, this event provides the opportunity to play with the newest music and audio gear while hearing from the top developers and manufacturers about future trends and innovations in music creation and recording workflows.  Here’s a presentation from AES New York 2019 given by a panel of music producers sharing critical knowledge about the history of music-making, and the recording industry’s growing pains as music creation moved into the digital age.

Develop:Brighton

Develop:Brighton is the biggest cross-disciplinary game development conference in the UK, including a comprehensive music composition and audio track.  Here’s a lecture by game composer Guy Whitmore about his strategies for music design and implementation in games:

GameSoundCon

As a two-day conference focusing solely on audio and music for video games, GameSoundCon provides learning sessions in both creative and technical disciplines.  Here’s an example lecture about the principles of interactive music by professor Leonard Paul:

High Score / Game Audio Conference

High Score bills itself as “Australia’s Premiere Game Audio Conference,” taking place each year during Melbourne International Games Week.  Here’s an example panel that discusses possible sources of royalty income for game musicians:

GAME MUSIC FESTIVALS

An illustration of the intersection of music and gaming, used in a discussion of video game music festivals. This image is included in the article written by Winifred Phillips (Grammy Award-winning game composer).

Like other music festivals, these events give music lovers the chance to mosh and rock hard.  Unlike other music festivals, the music here is from video games, including lots of classic tunes from early console favorites.

Super MAGFest

Standing for “Music And Gaming Festival,” MAGFest is held each year in National Harbor Maryland, providing a venue for video game cover bands while simultaneously mounting a huge and spirited game convention and game development conference.  Here’s the entire set of The Bit Brigade video game music cover band during MAGFest 2025:

MAGWest

MAGWest is the San Jose satellite event of MAGFest, offering similar content to west coast gamers and game music fans.  Here’s the entire set for MASTER BOOT RECORD at MagWest 2024:

VGM Con

Organized by the non profit organization “Gamer’s Rhapsody,” VGM Con is an annual event taking place in Minnesota, providing opportunities for gaming, cosplay, concerts, and even an ad-hoc orchestra clinic allowing attendees to bring their instruments and play symphonic game music together during the event’s recital.  Here’s a performance of music from the game Ace Combat 7 by The Tiberian Sons during VGMCon 2024:

Bit Gen Gamer Fest

Bit Gen Gamer Fest is a one day music festival event taking place at The Ottobar in Baltimore Maryland as a satellite event presented by the MAGFest organization.

GAME MUSIC CONCERTS

Photo illustrating a discussion of symphonic concert tours presenting video game music. This article was written by Grammy Award-winning video game music composer Winifred Phillips.

We won’t find any moshing or rocking out at these concerts, but that doesn’t make them any less epic!  These are the orchestral symphony concerts currently performing video game music around the world.  Where possible, I’ve included some concert videos so that we can see what makes these performances exciting.

Game Music Festival

Organized by the Game Music Foundation in Poland, the Game Music Festival presents lush orchestral concerts of game music at the Royal Albert Hall in London and the National Forum of Music in Poland.  Here’s the Baldur’s Gate 3 Suite performance from Game Music Festival 2020:

Video Games Live

Since its first epic performance at the famous Hollywood Bowl in 2005, Video Games Live has performed over 500 shows of video game music in venues around the world.  Here’s a Feb. 2025 performance of the Halo Theme from Video Games Live in Cedar Rapids Iowa:

Game On!

Featuring a prolific list of blockbuster games in its catalog of concerts (including League of Legends, Diablo, and World of Warcraft), the Game On! tours bring video game symphonic music to audiences around the world.

Distant Worlds: Music from FINAL FANTASY

Since 2007, this concert tour has brought the music from the Final Fantasy roleplaying game series to concert halls in every corner of the globe.  The tour draws its playlist from early games in the Final Fantasy franchise, curated by composer Nobuo Uematsu.

Video Game Symphony

Based in Cleveland, the Video Game Symphony is one of the world’s only symphony orchestras devoted solely to video game music.  Here’s a Video Game Symphony concert performance in 2024 of “The Dragonborn Comes” from The Elder Scrolls V: Skyrim:

Game Music Collective

Founded by cellist Lukas Stasevskij, the Game Music Collective is a combination band and symphony orchestra performing video game music in venues across Finland.  Here’s a Game Music Collective stage performance in 2023 of the main theme from Trine 2:

Game Music in Concert / Game Symphonic

From renowned game music conductor Eimear Noone, these two game music symphonic tours feature selections from blockbuster games such as Halo, The Last of Us, Fallout, and Starcraft.

A New World: Intimate Music from Final Fantasy

Consisting of small chamber music arrangements from the Final Fantasy franchise, this tour has performed over 100 concerts around the world since its inception in 2014.

The 8-Bit Big Band

This Grammy Award-winning big band reimagines video game music using all the swagger of Benny Goodman and Glenn Miller-style jazz, sprinkled liberally with inspiration from the great American songbook.  Here’s an entire concert from The 8-Bit Big Band from December 2024, performed at Sony Hall in NYC:

Washington Metropolitan Gamer Symphony Orchestra

As a community ensemble in the Washington D.C. area, the Washington Metropolitan Gamer Symphony Orchestra focuses exclusively on eclectic game music repertoire performed before live audiences and simultaneously live-streamed on Twitch.  Here’s a performance of music from Helldivers 2, performed during the Washington Metropolitan Gamer Symphony Orchestra Fall 2024 concert:

Elden Ring Symphonic Adventure

Assassin’s Creed Symphonic Adventure

Death Stranding – Strands of Harmony

Final Fantasy VII Rebirth Orchestra World Tour

Stardew Valley: Festival of Seasons

Packaged by the production company Overlook Events, this slate of concerts offers glittering spectacles complete with large-screen gameplay videos and dazzling light displays enhancing the impact of the orchestral performances.  In addition to their concerts focusing on film, animation and popular music, Overlook Events has an entire catalog of video game concerts with performance dates throughout 2026.

Heroes: A Video Game Symphony

Using the storytelling structure of Joseph Campbell’s well-known “Hero’s Journey,” and narrated by voice actor Nigel Carrington (known best for his voice work in the video game Dear Esther), this touring concert features music from such games as God of War Ascension, Guild Wars 2, Dragon Age, and Shadow of the Colossus, among many others.

London Soundtrack Festival

Celebrating music for all forms of entertainment media in a festive event in the heart of London, this festival includes a yearly concert that caps off their Game Music Day and features music from such games as Assassin’s Creed Valhalla, Baldur’s Gate 3 and Star Wars Jedi: Survivor.

London Video Game Orchestra

Founded by James Keirle and Galen Woltkamp-Moon, the London Video Game Orchestra performs a wide variety of game music repertoire throughout London.

EVENTS FOR GAME AUDIO & MUSIC RESEARCHERS

This illustration serves as a header for a discussion of scholarly research and educational resources relating to game music (as included in the article by game music composer Winifred Phillips).

Are you an eternal student of game audio?  Are you a deeply intelligent researcher investigating the role of audio in interactive entertainment?  Do you have a passion for learning about the history of the medium, or for studying the physiological and psychological effects of music on gamers?  Then you might appreciate these two conferences, which focus solely on the realm of game music from the viewpoint of education, scholarship and research.

The North American Conference on Video Game Music

Ludomusicology Conference on Video Game Music and Sound

 

GAME AUDIO / MUSIC COMMUNITIES & FORUMS

An illustration supporting a discussion of online communities catering to game audio professionals. This article was written by Grammy Award-winning video game composer Winifred Phillips.

Finally, here are the currently-active online communities where fellow game music and audio experts seek each other out for advice, knowledge, and camaraderie!

FMOD Community on Facebook

Video Game – Composers & Sound Designers on Facebook

FMOD Official Forums

Audiokinetic Wwise Official Community Q&A

GameDev.net Audio Forum

Gearspace.com Music for Games Forum

IndieDB.com Sound Design & Composition Forum

Reddit Game Audio Community

TigSource.com Audio Forum

VGMdb.net Video Game Music Discussion

LinkedIn Game Audio Group

LinkedIn Game Audio Network Guild Group

Twitter / X GameAudio Hashtag

Twitter / X GameComposer Hashtag

Game Audio Denizens on Facebook

GameAudio Starter Pack on Bluesky

 

 

CONCLUSION

So that’s the end of this collection of resources for game music composers and game audio professionals!  Happy New Year to everyone, and let’s jump into 2026 with renewed excitement for our work making music for games! In the meantime, you can learn more about game music composition in my book, A Composer’s Guide to Game Music.  Thanks for reading!

Image of the book cover for the book A COMPOSER'S GUIDE TO GAME MUSIC, written by game music composer Winifred Phillips and published by The MIT Press.


Photo of Grammy-winning game music composer Winifred Phillips.Winifred Phillips’ accomplishments as a video game composer include her Grammy® Award-Winning original musical score for the video game Wizardry: Proving Grounds of the Mad Overlord (listen to the official soundtrack on Spotify).  Her Wizardry soundtrack has also won a Society of Composers & Lyricists Award.  Phillips is known for composing music for games in many of the most famous and popular franchises in gaming: Assassin’s Creed, God of War, Total War, The Sims, LittleBigPlanet, Lineage, Jurassic World, and Wizardry.  Her music for Sackboy: A Big Adventure garnered a BAFTA Award nomination.  Phillips’ other awards include the D.I.C.E. Award, six Game Audio Network Guild Awards (including Music of the Year), and four Hollywood Music in Media Awards. She is the author of the award-winning bestseller A COMPOSER’S GUIDE TO GAME MUSIC, published by the MIT Press. An interview with her has been published as a part of the Routledge text, Women’s Music for the Screen: Diverse Narratives in Sound, which collects the viewpoints of the most esteemed female composers in film, television, and games.  Follow her on Twitter, Facebook, and Instagram.

 

 

Game Changers: Video Game Grammy Nominees

Photo depicting Grammy Award-winning video game composer Winifred Phillips in her music production studio. As the current Grammy Award winner in the video game category, Winifred Phillips will serve as the moderator of the upcoming GAME CHANGERS seminar, hosted by the Society of Composers & Lyricists.

By Winifred Phillips | Contact | Follow

Hi!  I’m videogame composer Winifred Phillips, and in February of this year I was thrilled to win the GRAMMY® Award for my musical score for Wizardry: Proving Grounds of the Mad Overlord!  My Wizardry score won in the category of Best Score Soundtrack for Video Games and Other Interactive Media.  Every year, the Society of Composers & Lyricists (in collaboration with Electronic Arts and White Bear PR) organizes an online seminar entitled GAME CHANGERS.  The seminar features all of the nominees in the video game category of the Grammys that year. Discussions during the seminar range from expert analysis of composition best-practices, to sources of inspiration that fuel the creation of the Grammy nominated scores.  I remember participating in the GAME CHANGERS seminar as a nominee for Wizardry.  It was one of the most awesome online seminars I’ve ever participated in, and I was really honored to be a part of it!

Grammy Award-winning video game composer Winifred Phillips, here shown in her official Grammy Award portrait. Winifred Phillips won the Grammy Award in February of 2025 for her soundtrack album to the video game Wizardry: Proving Grounds of the Mad Overlord.Now, I’m thrilled to share that as the current Grammy winner in the video game category, I have been invited this year to serve as the official moderator for the seminar!  On December 16th, I’ll be interviewing all of the nominees for next year’s Grammy Awards, and I’m really looking forward to exploring their creative process in composing their Grammy-nominated video game scores.  It should be tremendously inspiring!  Only current members of the Society of Composers & Lyricists can attend this popular online seminar (more info here).  However, everyone can enjoy the Grammy-nominated scores composed by these celebrated video game composers!  With that in mind, I’m happy to share their work in this article.  I hope our readers will be inspired by the creativity and skill on display in these nominated soundtrack albums!

If you are a current voting member of the Recording Academy, you’ll find the following details helpful as you decide how you’ll vote in the video game category.  And if you’re not yet a member… why not consider joining the Recording Academy?  Any Recording Academy member can submit their soundtrack releases for Grammy Awards consideration.  Let’s get the video game composer community involved!  After all, the Grammys are famous for being ‘Music’s Biggest Night,’ so the video game music community should be a big part of it!  More information about joining the Recording Academy can be found here.

So now let’s explore these currently nominated soundtrack albums for the Grammy Awards!  I’ve listed them alphabetically by game title.  For each nominated score, I’ve provided a biography of the composer at the top, followed by a Spotify playlist of their nominated soundtrack, and a no-commentary gameplay video demonstrating the game for which the music was composed.  Enjoy!!

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Getting your big break – 2026 edition (for the video game music composer)

Grammy Award-winning game composer Winifred Phillips at work in her studio at Generations Productions. This photo is included in Phillips' article about breaking into the industry as a video game composer.

By Winifred Phillips | Contact | Follow

Delighted you’re here! I’m video game composer Winifred Phillips.  In previous articles, I’ve shared the story of how I broke into the video game industry with my first project – the original God of War.  This year, Sony Santa Monica is celebrating its beloved franchise with a special release of the God of War 20th Anniversary Vinyl Collection.  The 13-disc limited edition vinyl set includes the music from the game that started it all – including my career as a video game composer.  Sony Santa Monica has also released a special limited edition double vinyl that includes just the music from the original God of War.  It’s all made me very nostalgic, and I’ve thought about my early days in the game industry a lot lately.

Grammy Award-winning video game composer Winifred Phillips celebrates the release of music from her first game in the God of War 20th Anniversary Vinyl Collection.

I’m amazed that this boxed set with my music from my very first game has released in the same year that I won the Grammy Award for Wizardry: Proving Grounds of the Mad Overlord!  2025 has been an important year for me.  I certainly know that my “big break” experience is not the typical career path for a game composer, but I thought it might be useful for those who haven’t heard it.  I told my “big break” story during a Society of Composers & Lyricists seminar, and this video captured that portion of the event.  My “big break” story starts 4 minutes and 20 seconds into the video:

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GDC 2025 A Score For Wizardry: Motifs for Wizards

Photograph of Grammy Award-winning composer Winifred Phillips, showing at work in her music production studio.

By Winifred Phillips | Contact | Follow

So happy you’ve joined us! I’m game composer Winifred Phillips, and one of my latest projects is my Grammy Award-winning music of Wizardry: Proving Grounds of the Mad Overlord: the 3d remake of the classic 1981 RPG that remains one of the top dungeon-crawlers of all time! (Listen and download the soundtrack). I’d like to welcome you to the sixth and final installment of my article series based on the lecture I gave at the popular Game Developers Conference of 2025! In my lecture, “A Score for Wizardry: World-Building Through Music,” I explored my composition process for this Grammy Award-winning score. Since most of us would not be able to attend GDC, I was happy to arrange the content of my 2025 GDC lecture into this six-part series. In these articles you’ll find the entire substance of my GDC lecture, along with all the audio and video examples and a large assortment of the images I used during my presentation. If you’d like to catch up with the previous installments of this series, you can find them here:

GDC 2025 A Score for Wizardry: World-Building Through Music
GDC 2025 A Score for Wizardry: Medieval World-Building
GDC 2025 A Score for Wizardry: Medieval Style
GDC 2025 A Score for Wizardry: The Underworld
GDC 2025 A Score for Wizardry: Music of Sanctuary

In part five of this series, we discussed the use of recurring themes in areas of sanctuary, and how those themes lent unified musical identity to the perilous Underworld maze.  Now, moving on from exploring the maze, let’s talk about fighting the awesome monsters in Wizardry.

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GDC 2025 A Score For Wizardry: Music of Sanctuary

Grammy Award-winning game composer Winifred Phillips, shown here working in her music production studio.

By Winifred Phillips | Contact | Follow

Hey there! I’m video game composer Winifred Phillips, and in March 2025 I presented a lecture at the Game Developers Conference about my Grammy Award-winning score to Wizardry: Proving Grounds of the Mad Overlord. “A Score for Wizardry: World-Building Through Music” explored both the historical research and creative process that went into the composition of this medieval and Renaissance-style score.  The Game Developers Conference is a very popular event each year, but since not all of us would be able to travel to San Francisco to attend, I’ve gone ahead now and included the entire content of my GDC presentation in this article series! These articles also include videos, audio files and images that I used during my talk. In case you haven’t read the previous installments of this series, you can find them here:

GDC 2025 A Score for Wizardry: World-Building Through Music
GDC 2025 A Score for Wizardry: Medieval World-Building
GDC 2025 A Score for Wizardry: Medieval Style
GDC 2025 A Score for Wizardry: The Underworld

In part four of this series, we were exploring how to musically intensify trepidation while players explore the perilous Underworld maze beneath the Wizardry castle.  The dungeon labyrinth is a treacherous place!  But there are a couple of bastions of safety here.

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GDC 2025 A Score for Wizardry: The Underworld

Photo of Grammy Award-winning composer Winifred Phillips, at work in her music production studio.

By Winifred Phillips | Contact | Follow

Welcome back! I’m game composer Winifred Phillips – my most recent game release is the Grammy Award-winning original music of Wizardry: Proving Grounds of the Mad Overlord!  Wizardry is the smash-hit 3D remake of the awesome 1981 dungeon-crawler (listen and download the soundtrack). This is part four of my series of articles based on the content of the lecture I gave at the Game Developers Conference 2025. My lecture (entitled “A Score for Wizardry: World-Building Through Music”) explored how music can help flesh out the world of a game by virtue of historical research and thematic construction. In order to make sure everyone can access this lecture (including those of us who couldn’t attend GDC 2025), I’m very pleased to share the content of this GDC lecture in an article series that includes the entire discussion, along with videos and some of the best supporting images.

In case you haven’t read the previous installments of this series, you can find them here:

GDC 2025 A Score for Wizardry: World-Building Through Music
GDC 2025 A Score for Wizardry: Medieval World-Building
GDC 2025 A Score for Wizardry: Medieval Style

In part three of this series, we heard a cross-section of the music I composed for the Wizardry Overworld, representing many facets of ordinary medieval life. Now, we’re about to move from the Overworld to the Underworld, and there’s nothing ordinary down there.

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GDC 2025 A Score For Wizardry: Medieval Style

Photo of Grammy Award-winning composer Winifred Phillips at work in her music production studio.

By Winifred Phillips | Contact | Follow

So happy you’ve joined us! I’m video game composer Winifred Phillips, and one of my most recent releases is the Grammy Award-winning musical score for Wizardry: Proving Grounds of the Mad Overlord.  Wizardry is the awesome smash-hit 3D remake of the classic 1981 dungeon-crawler (listen and download the soundtrack). In March of 2025, I gave a presentation at the Game Developers Conference entitled “A Score for Wizardry: World-Building Through Music.”  This is part three of my series of articles presenting the content of that lecture.  In order to best make my GDC discussions as widely accessible as possible, I share the content of my GDC presentations every year, including the full lectures, videos and illustrations from my GDC talk.

If you haven’t read the previous installments from my Wizardry lecture, you’ll find them here:

  1. GDC 2025 A Score for Wizardry: World-Building Through Music
  2. GDC 2025 A Score for Wizardry: Medieval World-Building

In part two of this series, we explored how medieval and Renaissance musical structure and instrumentation were used for the music of the Wizardry Training Grounds.  So let’s check out another example: the Adventurer’s Inn, where party members get rest and manage their equipment. For this composition, I wanted to evoke the idea that other adventurers might be gathered around the hearth, swapping stories. So I decided to model the instrumentation and style around those popular troubadours of 13th century France, who were famous for setting gallant adventures into song. You’ll notice the bowed lyres and keyed fiddles providing an underlying structure for this composition:

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GDC 2025 A Score For Wizardry: Medieval World-Building

Grammy Award-winning composer Winifred Phillips, shown at work in her music production studio.

By Winifred Phillips | Contact | Follow

Welcome back! I’m video game composer Winifred Phillips, and one of my latest game projects is the Grammy award-winning music for the smash-hit 3D remake of Wizardry: Proving Grounds of the Mad Overlord! (Listen and download the soundtrack.)

In this article, I’m presenting the second part of my article series containing the substance of my lecture, “A Score for Wizardry: World-Building Through Music,” from the Game Developers Conference 2025 (a top industry conference for game developers). Many of us in the game audio community can’t attend GDC, so I post the content of my GDC lectures every year in an article series that presents the full discussions, supported by many of the videos and illustrations from my lectures. Last month I posted part one of this series, in which we considered the history of the Wizardry video game and the factors that led to medieval and Renaissance musical choices for the structure of the Wizardry score.

An animated gif depicting the wizard Werdna from the Wizardry video game franchise. Included in the article by Grammy Award-winning composer Winifred Phillips.

Speaking of structure, let’s now take a moment to talk about the premise of the Wizardry game. The world of Wizardry centers on a medieval castle in an unnamed feudal kingdom led by a cruel and insane ruler.

As the game progresses, we learn that a powerful arcane amulet, once owned by this mad overlord, was stolen five years ago by a Wizard of great power and malice.

Tapping into the magic of the amulet, the Wizard crafted an elaborate dungeon directly beneath the castle, filled it with terrifying monsters, then hid at the very bottom of the maze.

The overlord, in his madness, decided that this subterranean deathtrap would be the perfect proving grounds in which to test prospective members of his elite guard.

That’s the premise of the game. You assemble expert adventurers willing to slice their way through this underground meatgrinder. If they aren’t all killed, they can return to the surface to rest, resupply, recruit new members, grab some training, and then head back into the maze.

Animated gif showing the underworld maze from the Wizardry video game franchise, as included in the article written by Grammy Award-winning composer Winifred Phillips.

So Wizardry is built around two worlds – the Overworld and the Underworld. The Overworld is a charming slice of medieval life, and the Underworld is a bloodsoaked murder tomb. But here’s the thing – the underlying gameplay mechanic from 1981 is still at play here. When you visit a shop in the Overworld, you’re looking at a series of menus. When you wander through the ominous passages of the Underworld maze, you’re seeing walls and doors, with some occasional skeletons on the floor. If these places were going to feel like living, breathing environments, the music would have to help them get there. So let’s start first with the music of the Overworld. This is where the fun begins.

The medieval period lasted from the late 400s A.D. to the mid 14th Century. It’s best known for the famous Golden Age of Chivalry, the Crusades, feudalism, and the construction of huge Gothic cathedrals. This is the period of history that I turned to when I started researching musical styles for the Wizardry Overworld.

Animated gif illustrating the characteristics of the medieval period, as included in the article by Grammy Award-winning composer Winifred Phillips.

Medieval music is an embarrassment of riches. It’s sophisticated enough to be entertaining to our modern ears (particularly as you move into the late medieval period) but it’s also got this alien vibe that makes it intriguing. Part of that weirdness rises from the emphasis on two intervals: the perfect fourth and the perfect fifth.

Image illustrating the use of perfect fourths and perfect fifths in medieval music, as included in the article by Grammy Award-winning composer Winifred Phillips.

In modern music, we lean on triads. We think they’re beautiful. But medieval musicians thought triads were ugly. You could use them as passing tones, but if you’re coming to rest, it’s on a lovely, consonant 4th or 5th. Let’s listen to how that principle applied to my music for Wizardry.

Here’s some of the music I composed for the Training Grounds, where you prepare your adventurers for combat. Since the Training Grounds would have been pretty physically active, I employed some late medieval dance rhythms. This one is inspired by the popular Estampie – literally the “stamp.” I also used consistent 4ths and 5ths in the musical construction here, with thirds appearing only in passing:

Aside from this fundamental difference of harmonic opinion, medieval musicians had a ton of awesome instruments to choose from – so let’s take a look at a couple of instruments from the previous example. As a salute to the Viking conversations we had at the beginning of the project, I investigated Nordic instruments and settled on two nice Viking-style choices that wouldn’t have been out of place in the medieval period:

The nyckleharpa (a keyed fiddle, pictured right)
The talharpa (a bowed lyre, pictured left)

Image depicting the talharpa and nyckelharpa, as used in the music composed by Grammy Award-winning video game composer Winifred Phillips.

You just heard those two instruments prominently in the music of the Training Grounds. They worked exceedingly well together for drone-based compositions. Paired with the viola da gamba, these instruments firmly situated the score in an early historical period.

So that wraps up part two of this six-part article series on the music of Wizardry: Proving Grounds of the Mad Overlord!  We’ll be continuing the discussion of the Overworld music in the next installment.  In the meantime, here’s a behind-the-scenes commentary video I narrated, discussing the Training Grounds music in more detail:

If you’d like to learn more about composing music for video games, you can read my book, A Composer’s Guide to Game Music (published by the MIT Press).

Image of the book cover for the book A COMPOSER'S GUIDE TO GAME MUSIC, written by game music composer Winifred Phillips and published by The MIT Press.

 


Headshot photo of Grammy Award-winning composer Winifred Phillips.Winifred Phillips is a video game composer whose latest project is her Grammy® Award-Winning original musical score for the video game Wizardry: Proving Grounds of the Mad Overlord (listen to the official soundtrack on Spotify).  Her Wizardry soundtrack has also won a Society of Composers & Lyricists Award.  Phillips is known for composing music for games in many of the most famous and popular franchises in gaming: Assassin’s Creed, God of War, Total War, The Sims, LittleBigPlanet, Lineage, Jurassic World, and Wizardry.  Her music for Sackboy: A Big Adventure garnered a BAFTA Award nomination.  Phillips’ other awards include the D.I.C.E. Award, six Game Audio Network Guild Awards (including Music of the Year), and four Hollywood Music in Media Awards. She is the author of the award-winning bestseller A COMPOSER’S GUIDE TO GAME MUSIC, published by the MIT Press. An interview with her has been published as a part of the Routledge text, Women’s Music for the Screen: Diverse Narratives in Sound, which collects the viewpoints of the most esteemed female composers in film, television, and games.  Follow her on Twitter, Facebook, and Instagram.

GDC 2025 A Score for Wizardry: World-Building Through Music

Photograph of Grammy Award-winning composer Winifred Phillips in her music production studio.

By Winifred Phillips | Contact | Follow

Hey everybody! I’m game composer Winifred Phillips, and one of my latest projects is the Grammy Award-winning musical score for the video game Wizardry: Proving Grounds of the Mad Overlord! (Listen and download the soundtrack.)

Last March I was honored to be a presenter at the Game Developers Conference 2025 — a top industry event where experts and leaders in game development present tutorials and strategies to their peers. My lecture was titled “A Score for Wizardry: World Building Through Music.” Each year, after I present my lecture at GDC, I transcribe the lecture into an article series (so that those who couldn’t attend the conference can still read the content). This article kicks off my six-part series based on my 2025 GDC presentation! In these articles you’ll find all of the discussion from my GDC lecture, accompanied by many of the videos and illustrations that I used to support the ideas explored in my talk. So let’s get started!

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GDC 2024 Dial Up the Diegetics: The Human Soundscape

Photograph of Winifred Phillips (award-winning composer whose latest project is the original music of Wizardry: Proving Grounds of the Mad Overlord).

By Winifred Phillips | Contact | Follow

So happy you’ve joined us! I’m game composer Winifred Phillips, and one of my latest projects is the music of the bestselling game Wizardry: Proving Grounds of the Mad Overlord: the 3d remake of the classic 1981 dungeon-crawler! (listen and download the award-winning soundtrack for free). I’d like to welcome you to the sixth and final installment of my article series based on the lecture I gave at the Game Developers Conference 2024!  In my lecture, “Dial Up the Diegetics: Musical Sound Effects,” I explored how the audio assets and techniques of expert sound designers can be applied to our work as game composers.  Considering that not all of us would be able to attend GDC that year, I arranged the content of my 2024 GDC lecture into this six-part article series.  These articles have shared the entire substance of my lecture, along with all the audio and video examples and a large assortment of the images I used during my GDC talk.  In case you haven’t read the previous installments of this series, you can find them here:

  1. GDC 2024 Dial Up the Diegetics: Musical Sound Effects
  2. GDC 2024 Dial Up the Diegetics: Sounds of Nature
  3. GDC 2024 Dial Up the Diegetics: The Animal Kingdom
  4. GDC 2024 Dial Up the Diegetics: Science and Technology
  5. GDC 2024 Dial Up the Diegetics: Industry and Mechanics

In part five of this series, we examined the sounds of machines and technology, exploring some of the best ways these sound design assets can be put to use within our music.  So now let’s return to the top of our full list of audio assets that we’ve been considering over the course of this article series:

Illustration depicting the bullet list used in the GDC 2024 presentation of video game composer Winifred Phillips.

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