The most general aim the player wants to achieve when entering a game.

RPG — Role-Playing Game, a game where main focus is assuming the role of a fictional character.

In Brian Upton's Aesthetic of Play, author draws from discussions about RPG (e.g. Threefold Model) and describes three players' agendas. The three categories fit surprisingly well to music games as here also every player might focus mostly on one of three:

  1. goals (we'll call these players gamists),
  2. coherence (formalists),
  3. closure (expressionists).

Originally, two latter types are called "simulationists" and "narrativists". Even when there are huge differences between storytelling and music, the analogy holds. You may look for more approaches present in music games and absent in RPGs. A popular one would be an agenda of looking for a learning experience or treating music games as means of exploration (instrumentalists?).

Any music game may be considered a mediating platform for players of different preferences on a general level towards qualities of playing and music (see also: good music). To achieve this the game should be also tested against any agenda. Such a game may serve it's purpose only when stating the rules precisely.

It's not that every player locks oneself in a chosen category, but differences are apparent and easing interactions between approaches is a task for every gamemaster or collective that deals with music games in an open environment.

Other player taxonomies:

Mark for clarification

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