ABSTRACT
This chapter focuses mainly on the compositional aspect of dynamic music, as it is easily forgotten in the technical hype and the tendency to transfer the theories and practice of linear film and popular music into computer games without paying attention to the nonlinear nature of the media. Theoretically it is possible to add a doubling voice to an existing voice at any time in music without destroying it, even though it might sound better if the voice was doubled at a specific beat or bar. Composing dynamic music for computer games involves many aspects that would normally not need to be taken into consideration in traditional composing. In software for composing dynamic music, the discrete messages are often referred to as events or routines and the continuous messages are often referred to as Runtime parameter controls or variables. The variability in dynamic music for games is often built on the same principle as Stockhausen's Klavierstuck XI.
