Eímear Noone got into composing and conducting video game music by accident. One day, while studying music at Trinity College Dublin, a fourth-year student came to the bar she was drinking in with members of the college chapel choir and offered them a few quid to help with the orchestration on a project of his. "I have a vivid memory of sitting on a studio floor somewhere in Dublin writing choral parts with my pals and then singing them," she says. "Six months later my brother calls me in a complete tizzy and says, 'Did you work on Metal Gear Solid?' I was like, 'No!' He says, 'Well, I'm looking at your name on the screen credits right now.' And sure enough, the session she had contributed to for beer money was the soundtrack to Hideo Kojima's blockbusting adventure game. "Years later I was at the Bird's Nest in Beijing at the Olympic Stadium conducting this very piece of music," she says. Noone is now a hugely successful film and video game composer, having contributed scores for directors such as Gus Van Sant and Joe Dante, and for games, World of Warcraft, Diablo III and Hearthstone. In November, she's presenting her second series of High Score, Classic FM's agenda-setting programme dedicated to game music. Underappreciated outside of game fandom for years, the genre is now huge business with dedicated orchestras playing sold-out global concert tours. And Noone is a passionate advocate – very keen to explore and explain the unique elements of the art form. There is, of course, a foundational similarity between game and film scores – they are both composed to accompany and accentuate screened action. But while a film score needs to accompany a two-hour linear experience with specific cues and events, video game music must be there for many hours of play. Most open-word action adventures, the likes of Assassin's Creed Origins, Witcher 3 and Final Fantasy XV, offer over 100 hours of narrative, but many players will spend much longer exploring. Music scores also have two different roles in games: they accompany the non-interactive cinematic sequences that set up the story and occur throughout a game – sort of like short animated movie sequences; and they provide background music while you play. "Cinematic are scored very similarly to a movie or an animated film.

In early 2018, Black Mirror creator Charlie Brooker was a guest on Radio 4's Desert Island Discs, for which one of his chosen recordings was Jonathan Dunn's theme for the 1988 Game Boy game RoboCop. In May, the Royal Albert Hall hosted PlayStation in Concert, at which the Royal Philharmonic Orchestra played music from games made for PlayStation consoles from the original in the 1990s through to the current generation. The event was hosted by Jessica Curry, composer for games such as Dear Esther, which recently had its own series of concerts in which a narrator and musicians performed to cues triggered by someone playing the game live on stage. Video game players love music. Even a track not made for a game can get a boost from association with one; Eminem's 2002 song Till I Collapse re-entered the UK charts in 2009 after it was used in an advert for Call of Duty: Modern Warfare 2. And music that is composed especially for games finds other outlets, too; a television show called Rich House, Poor House, in which families from opposing ends of the wealth spectrum swap homes for a week, has used music from The Sims, a series of life sim games about the capitalist fantasy of happiness through financial gain.

Classic FM is bringing back High Score, a weekly radio show dedicated to video game music. The first series ran for six weeks in April and May, and was presented by Jessica Curry, a BAFTA-wining composer and co-founder of now-on-hiatus game studio The Chinese Room (Dear Esther, Everybody's Gone to the Rapture, So Let Us Melt). Curry will return for season two, which runs for six weeks starting on November 4th at 9pm. The first and final instalments will be request shows, while the middle four explore themes such as love, quests, and the best video game music of 2017. The first series of High Score was a huge success for Classic FM.

These and so many other video game franchises offer beautiful, sweeping scores for players to get lost in. Unfortunately, however, they're not always known or appreciated by people outside of the gaming community. Recognition is improving through live concerts and awards, but there's still a long way to go. The latest effort to champion and broaden its appeal is a new radio show on Classic FM. It'll be hosted by Jessica Curry, co-founder of British game studio The Chinese Room and composer of Everybody's Gone to the Rapture, and will focus on symphonic video game music in particular.