Absolute magnitude (also known as absolute visual magnitude when measured in the standard V photometric band) is the measure of a celestial object's intrinsic brightness. It is also the apparent magnitude a star would have if it were 32.6 light years (10 parsecs) away from Earth. In astronomy, to derive absolute magnitude from the observed apparent magnitude of a celestial object its value is corrected from distance to its observer. The absolute magnitude is then equivalent to the apparent magnitude an object would have if it were at a standard luminosity distance (10 parsec) away from the observer, in the absence of astronomical extinction. It allows the true brightnesses of objects to be compared without regard to distance. Bolometric magnitude is luminosity expressed in magnitude units; it takes into account energy radiated at all wavelengths, whether observed or not.

The absolute magnitude uses the same convention as the visual magnitude: a factor of 10^0.4 (≈2.512) ratio of brightness corresponds to a difference of 1.0 in magnitude. The Milky Way, for example, has an absolute magnitude of about −20.5. So a quasar at an absolute magnitude of −25.5 is 100 times brighter than our galaxy (because (10^0.4)^{(-20.5-(-25.5))} = (10^0.4)⁵ = 100). If this particular quasar and our galaxy could be seen side by side at the same distance, the quasar would be 5 magnitudes (or 100 times) brighter than our galaxy.

[edit] Stars and galaxies (M)

In stellar and galactic astronomy, the standard distance is 10 parsecs (about 32.616 light years, or 3 × 10¹⁴ kilometres). A star at 10 parsecs has a parallax of 0.1" (100 milli arc seconds). For galaxies (which are of course themselves much larger than 10 parsecs, and whose overall brightness cannot be directly observed from relatively short distances) the absolute magnitude is defined by reference to the apparent brightness of a point-like or star-like source of the same total luminosity as the galaxy, as it would appear if observed at the standard 10 parsecs distance. In other words, the absolute magnitude of any object equals the apparent magnitude it would have if it was 10 parsecs away.

In defining absolute magnitude one must specify the type of electromagnetic radiation being measured. When referring to total energy output, the proper term is bolometric magnitude. The bolometric magnitude can be computed from the visual magnitude plus a bolometric correction, Failed to parse (Missing texvc executable; please see math/README to configure.): M_{bol}=M_V+BC . This correction is needed because very hot stars radiate mostly ultraviolet radiation, while very cool stars radiate mostly infrared radiation (see Planck's law). The dimmer an object (at a distance of 10 parsecs) would appear, the higher (more positive) its absolute magnitude becomes. The lower (more negative) an object's absolute magnitude, the higher its luminosity.

Many stars visible to the naked eye have such a low absolute magnitude that they would appear bright enough to cast shadows if they were only 10 parsecs from the Earth: Rigel (−7.0), Deneb (−7.2), Naos (−6.0), and Betelgeuse (−5.6). For comparison, Sirius has an absolute magnitude of 1.4 which is greater than the Sun's absolute visual magnitude of 4.83 (it actually serves as a reference point). The Sun's absolute bolometric magnitude is set arbitrarily, usually at 4.75.^{[1] [2]} Absolute magnitudes of stars generally range from −10 to +17. The absolute magnitudes of galaxies can be much lower (brighter). For example, the giant elliptical galaxy M87 has an absolute magnitude of −22 (i.e. as bright as about 60,000 stars of magnitude -10).

Computation[link]

One can compute the absolute magnitude Failed to parse (Missing texvc executable; please see math/README to configure.): M\!\,

of an object given its apparent magnitude Failed to parse (Missing texvc executable; please see math/README to configure.): m\!\,
and luminosity distance Failed to parse (Missing texvc executable; please see math/README to configure.): D_L\!\,

Failed to parse (Missing texvc executable; please see math/README to configure.): M = m - 5 ((\log_{10}{D_L}) - 1)\!\,

where Failed to parse (Missing texvc executable; please see math/README to configure.): D_L\!\,

is the star's luminosity distance in parsecs, wherein 1 parsec is approximately 3.2616 light-years. For very large distances, cosmological redshift complicates the relation between absolute and apparent magnitude, and an additional k correction might be required.

For nearby astronomical objects (such as stars in our galaxy) luminosity distance D_L is almost identical to the real distance to the object, because spacetime within our galaxy is almost Euclidean. For much more distant objects the Euclidean approximation is not valid, and General Relativity must be taken into account when calculating the luminosity distance of an object.

In the Euclidean approximation for nearby objects, the absolute magnitude Failed to parse (Missing texvc executable; please see math/README to configure.): M\!\,

of a star can be calculated from its apparent magnitude and parallax:

Failed to parse (Missing texvc executable; please see math/README to configure.): M = m + 5 (1 + \log_{10}{p})\!\,

where p is the star's parallax in arcseconds.

You can also compute the absolute magnitude Failed to parse (Missing texvc executable; please see math/README to configure.): M\!\,

of an object given its apparent magnitude Failed to parse (Missing texvc executable; please see math/README to configure.): m\!\,
and distance modulus Failed to parse (Missing texvc executable; please see math/README to configure.): \mu\!\,

Failed to parse (Missing texvc executable; please see math/README to configure.): M = m - {\mu}.\!\,

Examples[link]

Rigel has a visual magnitude of Failed to parse (Missing texvc executable; please see math/README to configure.): m_V = 0.18 and distance about 773 light-years

Failed to parse (Missing texvc executable; please see math/README to configure.): M_V = 0.18 - 5 \cdot (\log_{10} \frac{773}{3.2616} - 1) = -6.7.

Vega has a parallax of 0.129", and an apparent magnitude of +0.03

Failed to parse (Missing texvc executable; please see math/README to configure.): M_V = 0.03 + 5 \cdot (1 +\log_{10}{0.129}) = +0.6.

Alpha Centauri A has a parallax of 0.742" and an apparent magnitude of −0.01

Failed to parse (Missing texvc executable; please see math/README to configure.): M_V = -0.01 + 5 \cdot (1 +\log_{10}{0.742}) = +4.3.

The Black Eye Galaxy has a visual magnitude of m_V=+9.36 and a distance modulus of 31.06.

Failed to parse (Missing texvc executable; please see math/README to configure.): M_V = 9.36 - 31.06 = -21.7.

Apparent magnitude[link]

Given the absolute magnitude Failed to parse (Missing texvc executable; please see math/README to configure.): M\!\, , for objects within our galaxy you can also calculate the apparent magnitude Failed to parse (Missing texvc executable; please see math/README to configure.): m\!\,

from any distance Failed to parse (Missing texvc executable; please see math/README to configure.): d\!\,
(in parsecs):

Failed to parse (Missing texvc executable; please see math/README to configure.): m = M - 5 (1-\log_{10}{d}).\!\,

For objects at very great distances (outside our galaxy) the luminosity distance D_L must be used instead of d (in parsecs).

Given the absolute magnitude Failed to parse (Missing texvc executable; please see math/README to configure.): M\!\, , you can also compute apparent magnitude Failed to parse (Missing texvc executable; please see math/README to configure.): m\!\,

from its parallax Failed to parse (Missing texvc executable; please see math/README to configure.): p\!\,

Failed to parse (Missing texvc executable; please see math/README to configure.): m = M - 5 ( 1+ \log_{10}p).\!\,

Also calculating absolute magnitude Failed to parse (Missing texvc executable; please see math/README to configure.): M\!\,

from distance modulus Failed to parse (Missing texvc executable; please see math/README to configure.): \mu\!\,

Failed to parse (Missing texvc executable; please see math/README to configure.): m = M + {\mu}.\!\,

Bolometric magnitude[link]

Bolometric magnitude corresponds to luminosity, expressed in magnitude units; that is, after taking into account all electromagnetic wavelengths, including those unobserved due to instrumental pass-band, the Earth's atmospheric absorption, or extinction by interstellar dust. For stars, in the absence of extensive observations at many wavelengths, it usually must be computed assuming an effective temperature.

[edit] Solar System bodies (H)

For planets, comets and asteroids a different definition of absolute magnitude is used which is more meaningful for nonstellar objects.

In this case, the absolute magnitude is defined as the apparent magnitude that the object would have if it were one astronomical unit (AU) from both the Sun and the observer. Because the object is illuminated by the Sun, absolute magnitude is a function of phase angle and this relationship is referred to as the phase curve.

To convert a stellar or galactic absolute magnitude into a planetary one, subtract 31.57.

Apparent magnitude[link]

The absolute magnitude can be used to help calculate the apparent magnitude of a body under different conditions.

Failed to parse (Missing texvc executable; please see math/README to configure.): m = H + 2.5 \log_{10}{\left(\frac{d_{BS}^2 d_{BO}^2}{p(\chi) d_0^4}\right)}\!\,

where Failed to parse (Missing texvc executable; please see math/README to configure.): d_0\!\,

is 1 au, Failed to parse (Missing texvc executable; please see math/README to configure.): \chi\!\,
is the phase angle, the angle between the Sun–Body and Body–Observer lines. By the law of cosines, we have:

Failed to parse (Missing texvc executable; please see math/README to configure.): \cos{\chi} = \frac{ d_{BO}^2 + d_{BS}^2 - d_{OS}^2 } {2 d_{BO} d_{BS}}.\!\,

Failed to parse (Missing texvc executable; please see math/README to configure.): p(\chi)\!\,

is the phase integral (integration of reflected light; a number in the 0 to 1 range).

Example: Ideal diffuse reflecting sphere. A reasonable first approximation for planetary bodies

Failed to parse (Missing texvc executable; please see math/README to configure.): p(\chi) = \frac{2}{3} \left( \left(1 - \frac{\chi}{\pi}\right) \cos{\chi} + \frac{1}{\pi} \sin{\chi} \right).\!\,

A full-phase diffuse sphere reflects ⅔ as much light as a diffuse disc of the same diameter.

Distances:

• Failed to parse (Missing texvc executable; please see math/README to configure.): d_{BO}\!\,

is the distance between the observer and the body

• Failed to parse (Missing texvc executable; please see math/README to configure.): d_{BS}\!\,

is the distance between the Sun and the body

• Failed to parse (Missing texvc executable; please see math/README to configure.): d_{OS}\!\,

is the distance between the observer and the Sun

Note: because Solar System bodies are never perfect diffuse reflectors, astronomers use empirically derived relationships to predict apparent magnitudes when accuracy is required.^[3]

Example[link]

Moon:

• Failed to parse (Missing texvc executable; please see math/README to configure.): H_{Moon}\!\,

= +0.25

• Failed to parse (Missing texvc executable; please see math/README to configure.): d_{OS}\!\,

= Failed to parse (Missing texvc executable; please see math/README to configure.): d_{BS}\!\,
= 1 au

• Failed to parse (Missing texvc executable; please see math/README to configure.): d_{BO}\!\,

= 384.5 Mm = 2.57 mau

How bright is the Moon from Earth?

• Full Moon: Failed to parse (Missing texvc executable; please see math/README to configure.): \chi\!\,

= 0, (Failed to parse (Missing texvc executable; please see math/README to configure.): p(\chi)\!\,
≈ 2/3)

• • Failed to parse (Missing texvc executable; please see math/README to configure.): m_{Moon} = 0.25 + 2.5 \log_{10}{\left(\frac{3}{2} 0.00257^2\right)} = -12.26\!\,

• • (Actual -12.7) A full Moon reflects 30% more light at full phase than a perfect diffuse reflector predicts.
• Quarter Moon: Failed to parse (Missing texvc executable; please see math/README to configure.): \chi\!\,

= 90°, Failed to parse (Missing texvc executable; please see math/README to configure.): p(\chi) \approx \frac{2}{3\pi}\!\,
(if diffuse reflector)

• • Failed to parse (Missing texvc executable; please see math/README to configure.): m_{Moon} = 0.25 + 2.5 \log_{10}{\left(\frac{3\pi}{2} 0.00257^2\right)} = -11.02\!\,

• • (Actual approximately -11.0) The diffuse reflector formula does better for smaller phases.

Meteors[link]

For a meteor, the standard distance for measurement of magnitudes is at an altitude of 100 km (62 mi) at the observer's zenith.^[4][5]

See also[link]

• Photographic magnitude
• Hertzsprung–Russell diagram - Relates absolute magnitude or luminosity versus spectral color or surface temperature.
• Jansky radio astronomer's preferred unit - linear in power/unit area
• Surface brightness- The magnitude for extended objects
• List of most luminous stars

References[link]

External links[link]

• Reference zero-magnitude fluxes
• International Astronomical Union
• The Magnitude system
• About stellar magnitudes
• Obtain the magnitude of any star - SIMBAD
• Converting magnitude of minor planets to diameter
• Another table for converting asteroid magnitude to estimated diameter

v t e Star Evolution Formation Pre–main sequence Main sequence Horizontal branch Asymptotic giant branch Dredge-up Instability strip Red clump PG1159 star Mira variable Planetary nebula Protoplanetary nebula Luminous red nova Luminous blue variable Wolf–Rayet star Supernova impostor Supernova Hypernova Hertzsprung–Russell diagram Color–color diagram Protostars Molecular cloud H II region Bok globule Young stellar object Herbig–Haro object Hayashi track Hayashi limit Henyey track Orion T Tauri FU Orionis Herbig Ae/Be Luminosity class Subdwarf Dwarf Blue Red Subgiant Giant Blue Red Bright giant Supergiant Blue Red Yellow Hypergiant Yellow Blue straggler Spectral classification O B A F G K M Be OB Subdwarf B Late-type Peculiar Am Ap/Bp Oscillating Barium Carbon CH Extreme helium Lambda Boötis Lead Mercury-manganese S Shell Technetium Remnants White dwarf Black dwarf Helium planet Neutron star Pulsar Magnetar Stellar black hole Compact star Quark Exotic Stellar core: EF Eridani B Failed and theoretical stars Substellar object Brown dwarf Sub-brown dwarf Planetar Boson star Dark-matter star Quasi-star Thorne–Żytkow object Iron star Nucleosynthesis Alpha process Triple-alpha process Proton–proton chain Helium flash CNO cycle Lithium burning Carbon burning Neon burning Oxygen burning Silicon burning S-process R-process Fusor Nova Remnants Structure Core Convection zone Microturbulence Oscillations Radiation zone Atmosphere Photosphere Starspot Chromosphere Corona Stellar wind Bubble Asteroseismology Eddington luminosity Kelvin–Helmholtz mechanism Properties Designation Dynamics Effective temperature Kinematics Magnetic field Magnitude Absolute Mass Metallicity Rotation UBV color Variability Star systems Binary Contact Common envelope Multiple Accretion disc Planetary system Earth's Solar System Earth-centric observation of Pole star Circumpolar star Magnitude Apparent Extinction Photographic Color Radial velocity Proper motion Parallax Photometric-standard star Lists Star names Arabic Chinese Most massive Least massive Largest Brightest Historical Most luminous Nearest Nearest bright Stars with exoplanets Brown dwarfs Planetary nebulae Novae Notable supernovae Supernova remnants Supernova candidates Timeline of stellar astronomy Related articles Planet Star cluster Association Open cluster Globular cluster Galaxy Supercluster Helioseismology Guest star Constellation Asterism Gravity Intergalactic star Infrared dark cloud Star portal

Jesper Kyd Jakobson (born February 3, 1972) is an award winning Danish video game, television and film score composer. Internationally renowned for composing the unique, signature music soundtracks for multi-million selling franchises Assassin's Creed, Hitman and Borderlands, Kyd’s distinctive scores feature a diverse array of orchestra, choir, acoustic manipulations and electronic soundscapes, immersing audiences with emotional depth often described by critics as ‘rousing,’ ‘surreal’ and ‘beautiful.’^{[citation needed]}

Biography[link]

Early years[link]

Kyd started playing piano at an early age. Later, he took several years of training in classical guitar, note reading, choir singing and classical composition for piano. However, he is mostly self-taught.^[1][2] Kyd was always more interested in the compositional aspects of music and received a Commodore 64 when he was 14, enabling him to compose music for the demoscene.^[3] Several years later he obtained an Amiga, allowing him to compose music with samples in it.^[4] He, along with his good friend and collaborator, Mikael Balle, became a member of the demo group Silents DK, and after some time started collaborating with a group of coders known as Crionics,^[5] which would arguably later prove vital for his professional career. They eventually made the legendary Amiga demoscene production Hardwired.^[6][7] He also created and scored the first wild demo, Global Trash 2, together with Mikael Balle.

Career[link]

At this point Jesper Kyd decided to quit the demo scene and focus on a professional career as a game musician. He and his demoscene friends who had collaborated on the Hardwired demo created the computer game developer Zyrinx and started working on a game called Sub-Terrania for the Sega Genesis. The game was successful and the music of the game received particular acclaim, many stating it was "Some of the best ever" for this particular system.^{[citation needed]}

With the commercial success of the game, Jesper Kyd and the rest of the team relocated to Boston. Kyd composed music for two additional Zyrinx titles, Red Zone and Scorcher as well as the music for two externally developed games, Amok and The Adventures of Batman and Robin before their game publisher Scavenger went bankrupt, forcing the Zyrinx team to dissolve as well.

Freelance[link]

After the demise of Zyrinx, many of its former members returned to Denmark to start IO Interactive. Jesper Kyd decided to move to New York City and set up his own sound studio in Manhattan called "Nano studios". Because of his extensive connections in the industry,^{[citation needed]} Kyd found success as a freelance computer game musician. He also had been planning to score upcoming games from IO Interactive from the beginning.

Breakthrough[link]

Jesper Kyd's real fame came, according to him, with the release of Bioware's MDK2: Armageddon, Shiny's Messiah and IO's Hitman: Codename 47 being released around the same time, all being fairly well known games, with Hitman ending up as one of the most popular of the time.^[8] The soundtrack to Codename 47 was based on urban soundscapes and ethnic instrumentation. It immediately took the focus of many magazines around the world. Mp3.com declared that "The theme song to the original Hitman is arguably one of the best pieces of video game theme music so far this decade".^[9]

His next huge step was recording the soundtrack of Hitman 2: Silent Assassin. The soundtrack was recorded with 110 musicians of the Budapest Symphony Orchestra and Choir. "The music of most big budget action movies won't move you like the music of Hitman 2," said IGN.^[9]

His next soundtrack contained heroic and densely atmospheric music for the epic action/adventure Freedom Fighters. He recorded the score with the Hungarian Radio choir. It further established him as one of the leading, innovative A-list composers in interactive entertainment. It was described by Film Score Monthly Magazine as "Vangelis on steroids". Billboard Digital Entertainment Awards nominated him for Best Use of Soundtrack, meanwhile, Game Audio Network Guild Awards nominated him for "Best Original Vocal Song – Choral" (for Main Title and March of the Empire). Leading video game web site GameSpot awarded Freedom Fighters "Best Music of the Year".

His unique fusion of modern electronica and brooding symphonic and choral grooves featured in Hitman: Contracts garnered international critical acclaim as one of the truly groundbreaking original soundtracks. It was awarded Best Original Music by the British Academy of Film and Television Arts at the 2005 BAFTA Games Awards and won Best Cinematic / Cut-Scene Audio at the 2005 G.A.N.G. Awards. "Many have tried to turn a video game soundtrack into a musical experience. But few have succeeded in creating a coherent, satisfying listening experience as well as Jesper Kyd," noted EQ Magazine.^[9]

Following his Bafta-winning music for the globally acclaimed Hitman series, Kyd’s next assignment was to provide the rich and melodic sound for what would become Ubisoft’s flagship franchise, Assassin's Creed, created by visionary developer Patrice Desilets. Kyd’s cinematic score for Altair’s Middle-Eastern story delivers a deeply meditative and spiritual aesthetic with dramatic effect. For Assassin's Creed II, Kyd took the music in an adventurous new direction, crafting a melodic, acoustic and orchestral music score recorded with A-list musicians in Los Angeles. The music propels the action, captures the allure and mystery of Ezio’s story and immerses players in the breathtakingly detailed settings of Renaissance Italy. Kyd’s original score for Assassin's Creed Brotherhood draws influence and authentic instrumentation from the Renaissance period, immersing players in master assassin Ezio’s mission to liberate Rome from the corrupt and tyrant regime of the Borgias. For the epic conclusion to Ezio’s story, Assassin's Creed Revelations, Kyd composed a rich and evocative hybrid music style drawing on Greek, Renaissance and Middle-Eastern instrumentation, while combining his emotional melodic writing and acoustic/electronic styles associated with the series.

Kyd’s emotionally dynamic score for the highly anticipated action/adventure Darksiders II combines dark ethereal themes and melodic fantasy with sublime atmosphere that enrich the player’s cinematic journey through each of the unique realms. Darksiders II II follows the exploits of Death, one of the four horsemen of the Apocalypse, during his epic journey through various light and dark realms as he tries to redeem his brother WAR, the horseman who was blamed for prematurely starting the Apocalypse. Darksiders II is set for release on August 21, 2012.

Kyd is currently scoring new episodes of the upcoming live action TV series Metal Hurlant Chronicles (Heavy Metal), Cameron Romero’s next film Radical, Undead Labs’ ‘Class3′ and other projects to be announced.

He resides in Burbank, California and is represented by The Gorfaine-Schwartz Agency.

Works[link]

Kyd has composed music for many different forms of visual and non-visual media, below is a run-down of his works.

Games[link]

• 2012 - Darksiders II
• 2012 - Heroes and Generals
• 2012 - Soulcalibur V (provided a remix of the track "Venice Rooftops" from Assassin's Creed II)
• 2011 - Forza Motorsport 4
• 2011 - Assassin's Creed: Revelations (with Lorne Balfe)
• 2010 - Assassin's Creed: Brotherhood^[10]
• 2009 - Assassin's Creed II
• 2009 - Borderlands
• 2008 - The Chronicles of Spellborn
• 2008 - The Club (main theme)
• 2007 - Assassin's Creed
• 2007 - Unreal Tournament 3 (with Rom Di Prisco)
• 2007 - Kane & Lynch: Dead Men
• 2006 - Hitman: Blood Money
• 2006 - Gears of War (concept music)
• 2005 - Splinter Cell: Chaos Theory (cinematics)
• 2004 - Dance Dance Revolution ULTRAMIX 2 (songs .59 -remix-, Istanbul café, and Red Room)^[11]
• 2004 - Robotech: Invasion
• 2004 - Hitman: Contracts
• 2004 - McFarlane's Evil Prophecy
• 2003 - Freedom Fighters
• 2003 - Brute Force
• 2002 - Hitman 2: Silent Assassin
• 2002 - Minority Report: The Video Game
• 2001 - Shattered Galaxy
• 2001 - The Nations: Alien Nations 2
• 2000 - Hitman: Codename 47
• 2000 - Messiah
• 2000 - MDK2
• 2000 - Soldier (unreleased)
• 1999 - Time Tremors
• 1996 - Scorcher
• 1996 - Amok
• 1995 - Adventures of Batman and Robin
• 1994 - Red Zone
• 1993 - Sub-Terrania
• 1993 - AWS Pro Moves Soccer
• 1989 - USS John Young

Movies[link]

• 2010 - A Perfect Soldier
• 2008 - Staunton Hill
• 2007 - La Passion de Jeanne d'Arc (1928, new score)
• 2006 - Sweet Insanity
• 2003 - Night All Day
• 2002 - Pure
• 2002 - Death of a Saleswoman

Short films[link]

• 2011 - Somnolence
• 2010 - The Auctioneers
• 2006 - Virus
• 2006 - Impulse
• 2003 - Cycle
• 2002 - Pure
• 2002 - Paper Plane Man
• 2002 - Day Pass
• 2001 - Going with Neill
• 2001 - The Lion Tamer
• 2000 - Organizm

TV series[link]

• 2012 - Metal Hurlant Chronicles / Heavy Metal (US title)
• 2009 - The Resistance

Trailers[link]

• Game of Thrones TV Series
• Conan the Barbarian
• Assassin's Creed TV launch trailer
• Assassin's Creed cello TV trailer
• Assassin's Creed E3 trailer
• Gears of War E3 trailer
• V For Vendetta (Warner Bros. Pictures)
• Hitman: Blood Money TV trailers
• Hitman: Contracts TV trailers
• Hitman 2: Silent Assassin TV trailers
• Freedom Fighters TV trailers

Awards and nominations[link]

• 2012 BAFTA British Academy of Film and Television Arts - Best Original Score Nomination
• 2011 GameSpot Readers Choice Special Achievement Awards - Best Music Winner
• 2011 GameSpot Editors Choice Special Achievement Awards - Best Music Nomination
• 2011 Gold Spirit Awards - Best Video Game Score Nomination
• 2011 Academy of Interactive Arts & Sciences - Outstanding Achievement in Original Music Nomination
• 2011 Game Audio Network Guild Awards - Music of the Year Nomination
• 2011 Soundtrack Geek Awards - Best Video Game Score Nomination
• 2010 Hollywood Music in Media Awards - Best Original Score (VG) Nomination
• 2010 Gold Spirit Awards: Best Video Game Score Winner
• 2010 BAFTA British Academy of Film and Television Arts - Best Original Score Nomination
• 2010 International Film Music Critics Association - Best Original Video Game Score Nomination
• 2010 Academy of Interactive Arts & Sciences - Outstanding Achievement in Original Music Nomination
• 2010 Game Audio Network Guild Awards - Music of the Year Winner
• 2009 IGN Best of the Year Awards - Best Soundtrack Winner (PlayStation 3)
• 2009 GameSpot Readers Choice Special Achievement Awards - Best Original Score Winner
• 2009 GameSpot Editors Choice Special Achievement Awards - Best Original Score Nomination
• 2009 Hollywood Music in Media Awards - Best Original Score (VG) Winner
• 2009 Gamespy Editors' Choice Awards - Best Original Music Winner
• 2009 Spike Video Game Awards - Best Original Score Nomination
• 2009 G4TV X-Play Awards - Best Original Soundtrack Nomination
• 2009 Machinima Awards - Best Original Score Nomination
• 2008 BAFTA - Best Original Music Nomination (British Academy Award)
• 2008 Hollywood Music Awards - Best Original Score Nomination
• 2008 Golden Joystick Awards - Soundtrack of the Year Nomination
• 2008 ELAN Awards - Best Video Game Score Winner
• 2007 GameSpot - Best Video Game Score Nomination
• 2007 3 G.A.N.G. Nominations, including Music of the Year
• 2006 MTV Video Music Awards - Best Video Game Score Nomination
• 2006 IGN Best Original Score Winner
• 2006 Golden Joystick Awards - Best Game Soundtrack Nomination
• 2006 4 G.A.N.G. Nominations Including Music of the Year
• 2005 BAFTA - Winner Best Original Music Award (British Academy Award)
• 2005 G.A.N.G. Winner Best Music for Cinamatic/Cut Scene
• 2005 PSE2 Editor's Choice GOLD - Freedom Fighters Soundtrack CD
• 2004 Billboard Awards Best Music Nomination 2004
• 2004 IGN - Best Soundtrack Nomination
• 2004 3 G.A.N.G. Nominations
• 2004 PSE2 Editor's Choice GOLD - Hitman Contracts Soundtrack CD
• 2003 GameSpot - Best Soundtrack of the Year Winner
• 2003 Game Reactor - Best Original Soundtrack Winner
• 2003 PSE2 Editor's Choice GOLD - Hitman 2 Soundtrack CD
• 2002 Games Agent - Best Original Soundtrack Winner
• 2002 GameSpot - Best Original Soundtrack of the Year Nomination
• 2002 X-Sages - Soundtrack of the Year Nomination
• 2002 IGN - Best Sound Nomination
• 2002 Action Vault - Outstanding Achievement In Music
• 2002 Bolt Games - Bolt Games Music Award

References[link]

External links[link]

• Official website
• Official MySpace
• Jesper Kyd discography at MusicBrainz
• MobyGames rap sheet
• Artist profile at OverClocked ReMix
• An insight into Kyd's demoscene days with a video from 1991 he did the music for
• A more in depth look at his career including his demoscene days

Interviews[link]

• Interview at Nerd Reactor
• Interview at Tracksounds
• Interview at SoundtrackNet
• Interview at Go! Game Music
• Interview at BSOSpirit
• Interview at SpelMusik
• Interview & Module Downloads at Amiga Music Preservation
• Interview at DVD.Reviewer for Jesper Kyd's work on Staunton Hill
• Interview at GameStar.ru