Did you know that soundtrack concerts are among the most popular for touring orchestras? A full third of the Royal Philharmonic Orchestra's first-time audience members are coming to the concert hall via their favourite series and movies – and video games. It is a huge cultural growth area, and one that may have gone unrecognised by the general public. "It is impossible to ignore video game music now," says Tommy Pearson, founder and artistic director of the inaugural London Soundtrack festival. "The sheer creativity and artistry in games is incredible, and it's been fascinating to see so many composers blossom in the genre."

The original 1985 theme from Super Mario Bros, Mariah Carey's All I Want for Christmas is You and Madonna's 1984 album Like a Virgin are among "the defining sounds of the nation's history and culture" to be given places in the US national recording registry, the Library of Congress has announced. The Super Mario Bros music, officially known as the Ground Theme, written by the young Nintendo composer Koji Kondo, becomes the first music from a video game to enter the registry, which the library called "the most recognisable video game theme in history". The tune has appeared in countless Mario-related incarnations. In all, 25 albums, singles and other sound artefacts spanning more than a century are being inducted into the registry, from the first known recording of mariachi music in 1908 and 1909 by Cuarteto Coculense, to 2012's Concerto for Clarinet and Chamber Orchestra by the composer Ellen Taaffe Zwilich. Queen Latifah becomes the first female rapper with a recording in the registry with the inclusion of her 1989 album All Hail the Queen, whose songs include the feminist anthem Ladies First.

Existing multi-instrumental datasets tend to be biased toward pop and classical music. In addition, they generally lack high-level annotations such as emotion tags. In this paper, we propose YM2413-MDB, an 80s FM video game music dataset with multi-label emotion annotations. It includes 669 audio and MIDI files of music from Sega and MSX PC games in the 80s using YM2413, a programmable sound generator based on FM. The collected game music is arranged with a subset of 15 monophonic instruments and one drum instrument. They were converted from binary commands of the YM2413 sound chip. Each song was labeled with 19 emotion tags by two annotators and validated by three verifiers to obtain refined tags. We provide the baseline models and results for emotion recognition and emotion-conditioned symbolic music generation using YM2413-MDB.

For the past 10 years or so, if you lived in a big city and fancied hearing an orchestra play something from Metal Gear Solid or Sonic the Hedgehog instead of the Romantic period, there has been no shortage of options. Touring orchestras have played music from games such as Pokémon, Final Fantasy and Assassin's Creed for appreciative audiences all over the world. The largest such series, Video Games Live, has been running since 2005 and has played over 400 shows in Los Angeles, Beijing, Sydney and elsewhere. But this summer, for the first time, video game music will be part of the BBC Proms season at the Royal Albert Hall in London. A concert on 1 August will feature orchestral selections and adaptations from soundtracks spanning gaming history, including The Legend of Zelda, Shadow of the Colossus and Battlefield 2042.

Anyone who appreciates video games realizes the incredible amount of artistry that goes into composing the music for such games--even the 8-bit sound effects of the earliest consoles in the '80s and '90s. These musical elements helped lay the foundation for the more dramatic, sweeping soundtracks that we associate with popular video games today. What you might not know is that many of the earliest video game composers were women, despite the male dominance of the industry as a whole. Often hired straight out of college, these artists were set to work laying down tracks for hits like Castlevania, Mega Man, and Bionic Commando. Yet, they rarely if ever received credit.

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.

My grandfather, a lover of classical music, was president of the Hull Philharmonic Orchestra for many years. When I was 15, I played him an orchestrated version of Nobuo Uematsu's To Zanarkand, from the video game Final Fantasy X. "This isn't real music if it's from a video game," he told me at the time. I don't think he could ever have imagined that 12 years later, the Hull orchestra to which he had devoted so many years would be performing music from 1980s video games, in front of a packed hall. In the past, video game music concerts were a promotional novelty, but today they are regular and well-attended billings in venues across the world. From The Legend of Zelda: Symphony of the Goddess to Final Fantasy: Distant Worlds, Assassin's Creed Symphony to the recent debut by the London Video Game Orchestra and even a performance by the BBC Concert Orchestra hosted by lauded composer Jessica Curry, fans are flocking to concert halls to hear their favourite video game melodies played live.

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.

"Video games have not only helped the music industry survive, but thrive on entirely new levels," Steve Schnur tells me. As the worldwide executive and president of music at game publisher EA, his team – many of whom have been professional musicians and singer/songwriters – work with some of the biggest music acts in the world, licensing music for video game series like Fifa, Madden NFL, Need for Speed and NHL. Since the 90s, when licensed music became prevalent in games, series such as Tony Hawk's Pro Skater, Grand Theft Auto and Wipeout have become just as well-known for their soundtracks as they are for their gameplay. For millions of people, video games have been a way to discover new favourite bands or dive into other musical genres. And because people discover this music while playing a game they love, they develop a strong emotional attachment to it.

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.