Marko Ciciliani and Barbara Lüneburg employed a practice-oriented methodology in their GAPPP project (Gamified Audiovisual Performance and Performance Practice) to delve into the subject matter. They examined both composition and performance aspects by initiating with newly commissioned pieces, which were then performed by chosen artists capable of addressing pivotal questions raised during the inquiry. Ciciliani and Lüneburg collaborated closely with all participants, including performers, in line with their stated objectives. The current research adopts a similar approach, as outlined in the introduction, albeit excluding direct involvement of the audience.
In the attempt to examine various dimensions of game dynamics in music, multiple experiments have been conducted. The focus has been on different features and approach of games, standing from the aforementioned theories: tools of play, alea, agon, paidia and/or combination of the ones before. These experiments have centered on different aspects and approaches of games, drawing from the aforementioned theories: play tools, alea, agon, paidia, and/or their combinations. The objective is to explore diverse solutions in an experimental manner, without imposing strict judgments on the initial ideas but providing a clear and definitive assessment of the outcomes.
Although it initially began as an exploration driven by intuition and enthusiasm, a goal emerged on the horizon from the early experiments: to craft a sonic experience where the gaming medium would harmonize effectively with the auditory medium. "Effective" is not meant as a universal definition, but rather a qualitative judgment that considers the specific dynamics of gaming, the aesthetic aspects of musical work, and the non-negating combination of each element's demands. In a sense, this sounds ambiguous, but that ambiguity arises precisely from the desire to acknowledge the subjectivity inherent in any qualitative judgment, without rendering it inexpressive out of fear of presumption. Just as declared by Berio, as exemplified by Ciciliani's polar diagrams, and as evidenced by the endless, unresolved debates on the validity of numerous game pieces, the viewpoint of any listener—whether composer, performer, audience member, anthropologist, or player—can never completely align with that of another.
Compositional solutions where the role of gaming dynamics is as crucial as achieving a good musical outcome are not only possible but also highly intriguing, provided that appropriate games are chosen. However, it is essential to select the right games, whose structure inherently allows for interrelations that are not overly complex, leaving room for other elements (such as musical performance), yet still offering compelling "playability" or, at the very least, tailored in a way that the competitiveness arising from them organically reflects in the sonic domain.
The following pieces are therefore arranged according to a progressive evolution, judged subjectively based on the effectiveness of balancing these two parameters.