Sequencer and tracker music refers to music composed for various early home computer and game consoles from the late 1980s to the late 1990s, primarily for video game soundtracks. This music is typically created in software called "trackers", which are used to sequence small audio samples, often instrument sounds, into larger compositions. Their popularity and usage on these early systems is owed in large part to the small file size of tracker music files, allowing them to easily fit on pre-CD-ROM storage media like game cartridges, floppy disks, and cassette tapes.

The earliest usages of tracker music were on the Commodore Amiga, where the first tracker, Ultimate Soundtracker, was released in 1987, and games like Shadow of the Beast featured sequenced soundtracks in its MOD (or "module") format. The format would be expanded on with later freeware like ProTracker on the Amiga and FastTracker 2 on DOS, which gave these composition tools to amateur programmers and musicians who used them to create songs in a bouncy, melodic style that would come to be known as "chiptunes" (not to be confused with Chiptune, which uses 8-bit sound synthesis rather than audio samples). Many of these musicians had close ties to the demoscene, a subculture of amateur computer programmers who create and distribute small programs called "demos" to showcase their technical and artistic prowess, and tracker music would come to soundtrack many such demos into the 1990s. Much of this music was originally released only as the original module files or as part of small programs on floppy disks or cassette tapes, but some would be reissued on CD on compilations like The Best of the Amiga Scene later in the decade. Sequenced music would be introduced to DOS games with the Sound Blaster 1.0 in 1989, used in games like Jazz Jackrabbit or in conjunction with the card's FM Synthesis capabilities for games like The Secret of Monkey Island.

One of the first major appearances of sequenced music on a home console was with the Super Famicom in 1990, whose Nintendo S-SMP chip used 16-bit audio samples that gave its imitations of real instruments a distinctive synthetic sound due to their low sampling rate, as heard on soundtracks like Chrono Trigger and Final Fantasy VI. Similar chips were used in other consoles at the time, such as the Atari Jaguar and the TurboGrafx-CD, as well as in various arcade cabinets. Nintendo in particular would continue to use sequenced music on their consoles with the Nintendo 64 in 1996, including 近藤浩治 's work on Super Mario 64 and The Legend of Zelda: Ocarina of Time, and the handheld Game Boy Advance in 2001, as both consoles used cartridges which could not hold full audio tracks. On PCs, the Sound Blaster AWE32 would introduce the SoundFont technology in 1994, allowing MIDI files (which do not contain any audio samples) to be played back using sample-based synthesis, and this would be used on later games like Unreal and Deus Ex. Although these sequenced soundtracks on both consoles and computers covered a variety of styles, ranging from various types of Electronic Dance Music to Ambient, Industrial Music, and Western Classical Music influences, these were all unified by the limitations of tracker software and the usage of sequenced samples.

The PlayStation, released in 1994, used discs for its games and featured full CD-quality audio support. However, many games for the console still used a sequenced compositional style, ranging from the simplistic, 16-bit-like Final Fantasy VII to the more advanced composition found in games like Spyro the Dragon. As newer consoles like the Nintendo GameCube, PlayStation 2, and Xbox were released in the early 2000s and the use of CD-ROMs and more sophisticated sound cards became more prevalent on PCs, more and more games took advantage of the greater flexibility and fidelity of pre-recorded, non-sequenced audio. Though sequenced music was still used by a few high-profile GameCube games like Super Mario Sunshine and The Legend of Zelda: The Wind Waker as well as the handheld Nintendo DS into the mid-2000s, by this time the technology had been rendered practically obsolete. Many games' soundtracks on later consoles would still feature compositional influence from the sequenced style, but this music would for the most part become effectively indistinguishable from Electronic music more broadly.

Although sequencer and tracker music were primarily a product of their time and the hardware available on these early systems, their influence has been felt beyond the 1990s and even beyond the context of video game soundtracks. The early "chiptunes" style of tracker music from the demoscene would give rise to Bitpop, and there is still a small underground culture of musicians making tracker music and sharing it on websites like The Mod Archive. The Dungeon Synth style also draws heavily from a particular type of sequencer music found in the dungeon levels of many console role-playing games. Sequencer and tracker music can also still be occasionally found in retro-styled computer games such as Cave Story from 2004, whose developer and composer Daisuke Amaya created the Windows tracker Pxtone Collage, and Undertale from 2015.