Game Soundtrack Creation: A Primer for Creating Music and Sound Assets in the K–12 Classroom

Introduction

The popularity of video games has grown steadily over the past two decades, entertaining people from all walks of life. Advances in digital technology now provide multiple entry points for young composers to create music, edit and manipulate sounds, and pair them with visual content. With careful planning, music educators can design engaging projects integrating multiple learning modalities and inspiring student creativity. This article discusses ways music educators can use accessible technologies, including digital audio workstations (DAWs), pocket recorders, and open-source software, to help students create the various audio assets used in game soundtracks.

Video game music has a rich and creative history. Collins (2005) notes that one of the earliest video games to feature sound was Atari’s Pong game in the early 1970s. At the time, most games featured little, if any, accompaniment. Lerner (2014) points out that the most significant changes in the early period of video game sound occurred between 1977 and 1983. Before home gaming systems were widely available, coin-operated arcade games had become extremely popular. As the technology and storage capacity evolved, video game music and sound developed distinct genres, including Chiptune and myriad popular music styles and adaptations, giving composers and developers new areas to explore creatively (Munday, 2007).

For composers, Yamaha’s YM2612 synthesizer marked a significant milestone in game development in the late 1980s as the Sega Genesis featured a chip that enabled Frequency Modulation (FM) synthesis possibilities and stereo channels, making arcade-quality soundtrack elements accessible for the home market (Hopkins, 2022). The expanded audio capabilities allowed greater flexibility when using filters, panning, and sampling (Chang et al., 2007). As the storage capacity and music technology improved, and CD-quality sound became feasible, companies such as the Sony PlayStation featured expanded MIDI instrumentation game soundtracks in the early to mid-1990s (Hopkins, 2022; Zehnder & Lipscomb, 2012). Similarly, while game franchises like Grand Theft Auto and Guitar Hero featured popular music in the early 2000s, Collins (2008) notes that rock bands like Journey and Aerosmith contributed their music and likeness to selected projects beginning in the 1980s. Gibbons (2018) traces the longstanding relationship between classical music and video game soundtracks back to Nintendo’s Zelda game in the late 1980s to the present day, where live orchestral scores are recorded much like film music, with evocative textures and lush orchestration.

Game soundtracks comprise various audio assets, including music, sound effects, dialogue, ambient sounds, and Foley (Marks, 2012). Asset is a broad term used to describe the individual audio clips, which are edited, mixed, and implemented into a game. In the professional world, composers and sound designers collaborate to produce all musical and sonic elements heard during gameplay. Team sizes vary with project scope. Major (AAA, or high budget) releases involve dozens of designers, programmers, and artists working alongside sound designers and composers, who may be responsible for creating and coding thousands of files, which are implemented into the final story. Independent releases often rely on a single person to create all soundtrack elements, and are often less profitable (Collins, 2008). Creating an immersive game soundtrack engages multiple musical competencies and arts standards: composition, technology use, mixing, critical listening, collaboration, and file management (Clauhs & Powell, 2021). Gaming companies use video trailers to showcase key visual elements and build excitement, making them excellent starting points for learning to create soundtracks (Cassidy, 2011).

There are many different sound classifications within a gaming environment. Ambient sounds, like an outdoor cityscape, are often used to create specific environments. As the player navigates a particular space, an ambient sound cue provides context for the on-screen action. Collins (2007) defines interactive sounds as those generated in gameplay mode. If the player presses a button to fire a weapon, sounds are generated each time the player presses the joystick. Another example is when a character moves in a specific direction when the player uses the arrow keys on a joystick. Adaptive audio differs slightly because it generates sounds based on the player’s reactions and performance in gameplay mode (Collins, 2007). Looping sounds repeat over and over, and triggered sounds play at specific points. Explosion and bonus cue are examples of triggered sounds; they might play once (sometimes called “one shots”) or for a specific timeframe. Foley sounds are used to accentuate movements and character actions. In a game, examples of Foley include walking on different surfaces and reaching for items.

Musical Elements

Music serves multiple functions in supporting visual media. Music loops—short, repeating phrases usually less than one minute in length—often serve as the primary background soundtrack for each game level and heighten sensory awareness in video games along with repeating sounds (Arnold, 2018). Teachers can use different examples to spark their students’ curiosity, such as classic music from Nintendo’s Super Mario Brothers franchise. When Mario goes underground after conquering the first level, the music transforms into a familiar yet haunting melody. Different musical cues play when the character hits a bonus or loses a life. These examples illustrate how game music is organized into looping and dynamic categories to create an immersive experience for the player (Phillips, 2014).

Soundtrack elements can be organized into two main categories: diegetic and non-diegetic sounds. Diegetic sounds (and music) are those that both the character and audience perceive. The car radio music in the Grand Theft Auto series is a prime example of diegetic sound, where the characters in the game hear the songs along with the player (Miller, 2007). Non-diegetic elements, by contrast, are only perceivable by the audience. These include music during transition scenes, opening menu screens, ending credits, and certain types of narration and sound effects (Ekman, 2005).

When starting, it is beneficial to focus on loops and non-diegetic elements. While dynamic music is exciting—music generated by player actions such as completing a level or losing a life—these musical cues are typically created and implemented through game engines like Unreal or Unity, making them more suitable for advanced students (Sinclair, 2020; Stevens & Raybould, 2015). A game engine is a professional-level software program that developers use to build every aspect of the project, including the characters, backgrounds, animations, and the soundtrack elements. While robust, they are challenging to use, resource-intensive, and may not be appropriate for younger learners. Teachers may find it valuable to collaborate with their students in creating a “brief”—an industry term describing a project’s context, background, and overarching musical objectives sought by the developer or producer (Zager, 2021). This collaborative process allows teachers to engage with their students creatively, crafting ideas for a virtual world where music takes center stage.

Music loops and layers are built in several steps. Students often begin by establishing the foundation with drums, particularly when creating game music. Beats help define the style and feel of the composition and have also been used to advance standards-based writing curriculum in elementary school (Christianakis, 2011). While students are encouraged to explore pre-made loops that match their musical interests, teachers can introduce beat-making if suitable loops are unavailable through a flipped classroom model as students may explore YouTube and similar platforms for tutorials and ideas (Kruse & Hill, 2019). Students can create drum and percussion sounds step by step using a MIDI keyboard (or QWERTY keyboard on a laptop) or similar controller. Alternatively, they may prefer to draw notes directly in the piano roll—a visual grid layout representing piano keys. The piano roll shows the keyboard vertically on the left side of the screen and the bars on a horizontal axis. Students can play or draw in the notes to create a melody and edit them. Once they have established the tempo and essential rhythm parts, students can add simple melodies, bass lines, and chords based on their interests.

Instructors can enhance collaboration by dividing students into small groups, each focusing on a different aspect of the composition. Web-based platforms like BandLab allow educators to create virtual classrooms where students can work together. During the creative process, facilitators support learning by playing examples of game soundtracks and discussing professional composers, helping students understand music’s role in games through scaffolded instruction (Hoover et al., 2015). As students select instruments and sounds, classroom discussions can focus on how groups might compose related musical cues that flow naturally together. This collaborative approach encourages groups to communicate effectively, share works in progress and make collective decisions about the music’s direction while advancing critical thinking and metacognitive processes (Biasutti, 2015). Educators can further distribute responsibilities by assigning specific students to handle technical aspects like editing (fades, file management) and mixing (volume balance, panning, and effects).

Students can take an active role in determining the order and sequence of musical layers in the production. After creating and mixing the clips, the next phase involves assembling them to support the on-screen action. This process requires careful attention to detail: ensuring consistent volume levels across clips, creating smooth transitions, and balancing the soundtrack with other audio layers. Drawing from industry practices, instructors can encourage students to document key moments in gameplay where music should have maximum impact. Organization, note-taking, and ongoing observation are as crucial as the technical aspects of composing, editing, and mixing. Students can rotate through different roles throughout the project to gain experience.

Musical layers are an important component of building a video game soundtrack. In vertical resequencing, composers layer multiple tracks (stems) that play simultaneously at varying volumes (Fligsten, 2022). As gameplay evolves, different layers are emphasized through volume adjustments to match on-screen events. Each layer contains similar but distinct musical elements—for example, one layer might feature percussion, strings, and a cappella vocals, while another removes the vocals while maintaining the other elements. The stems are designed to sound compelling individually and, when blended, are achieved through careful editing and smooth transitions. This layered approach allows the soundtrack to adapt to gameplay while maintaining musical coherence dynamically. Horizontal resequencing involves playing musical clips sequentially rather than simultaneously (Fligsten, 2022). As each clip ends, the next begins. This technique works especially well with shorter clips that can build momentum while varying style and emotional content to match gameplay progression.

Games often feature multiple transitions between levels, each requiring distinct musical cues. Game engines integrate these audio assets to play based on player performance. Common transitions include cinematic views (gradual changes like day-to-night shifts), level starts, cut scenes (quick transitions like entering buildings), and more (Cutajar, 2020; Sweet, 2015). Teachers can enhance learning by playing examples from various game genres and discussing how music evolves across stages. Teaching musical transitions offers students a creative challenge while maintaining the game’s mood and purpose.

Teachers may have students work on transitions individually before assembling all clips at the project’s end. This approach lets students tackle each section with a fresh perspective while learning DAW features for audio, mixing, and editing—all within the context of gameplay functionality. Teachers should guide students through questions about how each musical element works independently and as part of the whole. Students must also consider space for sound design elements, developing critical listening skills at detailed and broad levels while maintaining engagement.

Sound Design Elements

Building a game soundtrack requires gathering and editing contextual sounds. Students can begin by recording everyday sounds using their laptop or tablet’s built-in microphone. Alternatively, small groups may use phones or digital recorders. These portable devices, equipped with built-in microphones, capture ambient sounds and are commonly used in film production (Walzer, 2017). They can record uncompressed audio (WAV files), though some require microSD cards, which are small discs inserted into a slot and used to capture media for storage. After recording, students can transfer files to laptops for editing. Wav files are the most common format for recording high-resolution audio content. Many digital recorders have USB ports, which allow for easy connection to a laptop or tablet so that files can be transferred for later editing.

While mastering the technology takes time, teachers can facilitate this process. Since portable digital recorders are sensitive to handling noise, teachers should demonstrate proper recording techniques to maintain nominal audio levels and prevent clipping (Walzer, 2020). Using the included tripods can help prevent damage from drops or mishandling. File organization is essential when recording game sounds. Have one student log and describe each sound as others record in different locations (classroom, hallway, and outdoors). This documentation streamlines file transfer and selection when combining sounds with music in the final soundtrack and helps ensure consistency among various audio formats (Frantiska, 2008).

Students can begin editing and mixing after recording available sounds and incorporating library clips. Field recordings often contain background noise and unwanted artifacts such as clipping, low-end rumble, and plosives (Dorritie, 2003). Sound effects typically have “hard” edits without fades, designed to sync with on-screen movements or player actions. When editing, it is crucial to identify the precise beginning and end of each clip while ensuring smooth, clear transitions without clipping or missing audio (Vachon, 2018).

Field recordings frequently require equalization to control their low, mid, and high frequencies. DAWs offer various equialization options, from simple bass and treble controls to sophisticated parametric equalizers that can precisely boost or cut specific frequency ranges (Savage, 2011). A high-pass filter is commonly used for field recordings to eliminate unnecessary low frequencies below a certain threshold (e.g., 100 Hz), helping reduce unwanted muddiness and rumble (Duggal, 2024). Compression is another essential effect that controls peaks in digital waveforms, ensuring sounds blend at consistent levels. Teachers should encourage students to explore effect presets while guiding them to recognize different aspects of sound waves.

Reverb adds space and depth, creating ambience and a sense of place in recordings. For outdoor game environments, students might experiment with larger reverb settings that simulate open spaces or caverns, while indoor environments typically benefit from shorter reverb times. However, not all sounds need effects processing—dialogue, for example, is often recorded “dry” to simulate direct microphone narration. Teachers can help students develop critical listening skills by encouraging them to consider how sounds function within the game and whether effects will enhance their impact (Riviere, 2023). Game sounds generally fall into two categories: environmental (or ambient) and triggered. Environmental sounds encompass elements like cityscapes, nature, and water, while triggered sounds respond to player actions like explosions, and the aim is for all sounds in the game to be audible and enhance the gameplay experience (Kenwright, 2020).

Teaching Framework

Creating a game soundtrack involves two primary stages: composing music and creating sounds, then placing these elements in a game context (Zizza, 2023). While each stage requires different technologies, teachers can access numerous free and open-source options to develop lesson plans and projects. DAWs like Soundtrap and BandLab provide embedded sound libraries, MIDI instruments, music loops, and audio effects that students can use to design sounds and compose music (Giddings, 2020). For synchronizing soundtracks with gameplay videos and trailers, programs like GarageBand and Ardour (a free open-source DAW compatible with Mac, Windows, and Linux) allow users to import video directly into their sessions. Additional equipment may include MIDI keyboards, headphones or earbuds, and USB-compatible digital recorders (such as the Zoom H1n or Tascam DR-05). While these tools vary in cost and are not essential for beginners, teachers can gradually introduce them as time and budgets permit. In the meantime, students can develop core concepts using just the built-in features of a laptop or tablet.

Classroom Integration

Integrating and adapting technology for general music education requires careful planning. Students’ grade levels and experience determine the depth of music and sound creation activities. Teachers typically begin soundtrack units by having novice students identify audio in gameplay videos, which can be used to spark creativity (Cassidy & Paisely, 2013). While the activities outlined above are well suited for after-school music clubs or classes with flexible curricula, schools can facilitate music learning with free and low-cost tools. For music recording, popular DAWs like BandLab and Soundtrap allow teachers to create virtual classrooms for collaborative projects. Both platforms offer tiered options, from free to seat-based licenses. GarageBand is another excellent resource that works on iPads and incorporates video into recording sessions. Using DAWs for songwriting and creative production simultaneously engages multiple cognitive processes through editing and decision-making (Clauhs, 2020; Duncan, 2021). As students gain confidence with recording and editing, they can explore advanced MIDI orchestration techniques, optimizing sample libraries by adjusting velocity, dynamics, quantization settings, and arrangements (Clauhs et al., 2019).

There are several free resources for using synthesizers and finding video game music ideas. Online Sequencer and MIDI.city are free web-based sequencers that allow users to create melodies and export the MIDI information into a DAW for later use. Both platforms have built-in sounds and drum patterns. There are several free and accessible platforms for creating chiptune music, including BeepBox, Jummbox, and WebSID, a Commodore 64-styled synthesizer. Educators may find these resources beneficial for their students, as they provide high-quality sounds and are fun to use.

While classrooms with MIDI keyboards and headphone stations are beneficial, they are not essential. The recommended basic setup includes a small sound system with speakers, a mixer, and adapters to play sound from laptops or tablets. Students can begin by using their devices’ built-in recording capabilities. As students experiment with Foley sounds and microphone techniques, teachers can guide them to listen critically and understand how each effect serves a specific function in the gameplay, thus expanding the possibilities on what music composing entails (Hickey, 2012). For more advanced applications, schools may consider purchasing USB clip-on condenser microphones. Although these microphones are sensitive and pick up background noise, they produce clean sound quality that benefits beginning composers and sound designers (Randles, 2022). At this stage, teachers focus on basic recording techniques. Projects become more complex as students gain confidence while keeping the work engaging and emphasizing creative exploration in the game environment (Gallo, 2013).

The built-in features of digital devices offer students a wide range of musical and sonic choices for creating soundtracks. MIDI keyboards and similar controllers provide additional support for student composition in music labs equipped with desktop computers. An important consideration is ensuring equitable access to creative music-making tools for all students. Implementing online DAWs may require coordination with school IT staff to address network firewall configurations on student devices (Rosenberg, 2001). Teachers should also consult district IT or media technology teams regarding best practices for student privacy and file sharing.

While these preparations require additional planning, they ensure that students can work effectively and securely. If budgets allow, teachers may wish to procure some audio interfaces so that students can plug in microphones and instruments for recording along with headphones. Though somewhat flexible, computers or tablets with at least 8GB of RAM, USB connectivity, and headphone inputs are advisable for multimedia work. Teachers should encourage students to bring backup thumb drives to store their projects for later revision.

Assessment Considerations

Assessment of music education through technology has sparked increasing debate and diverse viewpoints (Cano et al., 2018; Nielsen, 2011). While no single metric can fully evaluate creative practice, educators can adopt a holistic approach emphasizing formative assessments and rubrics. This approach can focus on evaluating how students work collaboratively and engage in self-reflection, supporting portfolio-based work that demonstrates student growth, musical progression, and project organization through formative and summative artifacts (Silveira, 2013). Aligning assessments with relevant standards requires thoughtful planning and experimentation. Formative assessments help teachers scaffold content, allowing students to gradually approach music and audio creation. By incorporating peer feedback and progress tracking, teachers can support students in evaluating their creative ideas.

While performance-based assessments remain common in music education, a portfolio model can help teachers document student progress and provide evidence of learning in ways that connect with students’ interests. However, portfolio-based assessments require significant time to build, compile, and grade while also garnering buy-in from faculty (Challis, 2001). This challenge highlights the need for smaller, low-stakes formative assessments that can efficiently document student learning throughout the process (Austin et al., 2024).

While professional-grade sample libraries can be cost-prohibitive, students can create musical ideas using affordable notation software like MuseScore, Dorico, Sibelius, or Noteflight. Like DAWs, many free and low-cost notation programs allow users to score to video, customize sounds, and export projects in multiple formats (MIDI, audio, and XML) for further refinement and online collaboration (Criswell, 2011; Norman, 2023).

Collaborative projects allow students to experience different aspects of the audio and music production pipeline. When students rotate through various roles (composer, sound designer, editor, etc.), they gain a deeper understanding of the responsibilities and opportunities in game soundtrack development and implementation. Formative assessments, such as reflection journals, encourage students to analyze their process and self-evaluate how effectively they fulfilled the project’s learning objectives (Coghlan, 2022). Including these materials in a learning portfolio provides concrete evidence of musical learning through technology (Bennett et al., 2016).

An important consideration is that the suggested projects primarily focus on linear, time-based media, where music and sound assets are synchronized to specific points in gameplay, generated by the player’s actions (Collins, 2007). As students develop post-production competencies, they can progress to exploring non-linear aspects within a game engine later in their academic career. Game development presents unique challenges since many sounds are triggered by player actions rather than following a fixed timeline. Unlike scoring to video, where events are arranged sequentially, game engines rely on scripts and object-based commands to play specific sounds (including their spatial positioning) in response to player interactions (Horowitz & Looney, 2014). As such, these may not be the most feasible option for younger students.

Carefully implemented rubrics, like multiple assessment options, can enhance instructional design. Rubrics offer several advantages: They help teachers streamline grading, organize and improve teaching strategies, and promote inclusive evaluation while minimizing bias in the grading process. Students and families should be informed of evaluation criteria through syllabi and written materials, regardless of the specific assessment type and rubric. When assessments and rubrics are adequately aligned, the result is typically a more organized and cohesive instructional plan, allowing students to demonstrate their learning creatively.

Conclusion

Gaming and music technology share many similarities, providing users abundant creative expression opportunities. Students can work individually or in small groups, using various tools to compose, edit, and manipulate sounds while building compelling soundtracks for video game clips and existing projects. The activities outlined in this article are well suited for after-school programs, informal clubs, or as supplements to existing curricula.

Implementing soundtrack units requires careful planning and strategy across different grade levels. Part of the planning process involves file storage, access to the Internet, and deciding on the best “tools for the job.” It may benefit teachers to ask middle and high school students to bring a flash drive so that their projects can be stored. Using Google Drive and similar web platforms can be helpful; teachers may want to archive projects over time as file sizes can be quite large with videos. As expressed, students can explore many free websites for creative inspiration. Teachers may want to coordinate with IT staff if some websites are filtered through district rules. Oftentimes, a conversation ahead of the proposed unit allows the staff to identify which sites are safe for students to use on campus. In the event of limited access, teachers may use a flipped classroom model to have students find web links, create music at home, and then bring the files to school for classroom integration.

These suggestions should be tailored to suit specific classroom needs and student requirements. The instructions provided earlier are not meant to be prescriptive. Learning technology and gaming terminology takes time and often presents a learning curve for teachers and students. Nevertheless, by starting slowly, with one project at a time, it is possible to bridge multiple aspects of creative and technical learning to engage student interest. Formative assessments benefit portfolio-based evaluations and group collaboration. Schools looking to integrate video game elements into their modules may consider using free trailers released by gaming companies or those available under Creative Commons licenses. As artificial intelligence tools become more accessible, future projects may blend traditional music-making with cutting-edge technology. With thoughtful implementation, soundtrack creation provides students multiple entry points into technology-mediated music-making while enhancing individual and collective learning.