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Intellect Books - Tim Summers

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Some 22 years after its creation, The Legend of Zelda: Ocarina of Time is still held in high critical regard as one of the finest examples of the video game medium. The same is true of the game’s music, whose superlative reception continues to be evident, whether in the context of the game or in orchestral concerts and recordings of the game’s music.

Given music’s well-established significance for the video game form, it is no coincidence that music is placed at the forefront of this most lauded and loved of games. In Ocarina of Time, music connects and unifies all aspects of the game, from the narrative conceit to the interactive mechanics, from the characters to the virtual worlds, and even into the activity of legions of fans and gamers, who play, replay and reconfigure the music in an enduring cultural site that has Ocarina of Time at its centre. As video game music studies begins to mature into a coherent field, it is now possible to take the theoretical apparatus and critical approaches that have been developed in antecedent scholarship and put these into practice in the context of an extended concrete game example.

The most extensive investigation into the music of a single game yet undertaken, this book serves three important primary purposes: first, it provides a historical-critical account of the music of an important video game text; second, it uses this investigation to explore wider issues in music and media studies (including interactivity, fan cultures, and music and technology); and third, it serves as a model for future in-depth studies of video game music.

Chapter 1. Introduction

Chapter 2. The music of Ocarina of Time in context

Nintendo’s game franchises

The Legend of Zelda

Kondo’s approach to music in The Legend of Zelda

Music on the Nintendo 64

Music in Ocarina of Time

Chapter 3. The ocarina and Link’s musical performances

The ocarina

Why an ocarina?

Playing Link’s ocarina

Beyond the four notes

Learning the ocarina songs

The songs

Plot-advancing and assistance melodies

Warp songs

The Scarecrow’s song and other performances

The Fabulous Five froggish tenors

The Skull Kids

Musical performance in Ocarina of Time

The function of musical performance in games

Chapter 4. Location cues

Part I. Hyrule Field

A familiar tune

Introduction

Day tags

Reflective tags

Battle tags

Music, the player and geography

Part II. Location cues featuring ocarina songs

Epona’s song and Lon Lon Ranch – Associations of ranch life

The Temple of Time and the Song of Time – Cathedral soundscape

Windmill and the Song of Storms – Strange circularity

Saria’s song and the Lost Woods – Jolly repetition and misdirection

Part III. Dungeon cues

Inside the Deku Tree – Organic timbres

Dodongo’s Cavern – Audio textures of metal and stone

Inside Jabu-Jabu’s belly – Fishy rumblings

Forest Temple – Sounds of the forest

Fire Temple – Voices heard and unheard

Ice Cavern – Crystalline chimes

Water Temple – A dungeon on the Danube?

Shadow Temple and the bottom of the well – Voices and drums from the depths

Spirit Temple

Ganon’s Castle

Part IV. Towns

Kokiri Forest – Optimism and ornamentation

Castle Town market – Evoking European traditions

Kakariko Village – A wistful safe haven

Goron City – Sounding the materials of the mountain

Zora’s domain

Gerudo Valley – Hispanic traditions in the desert

Part V. Recurring types of location

Shops – Hyrule’s consumer soundtrack

Sideshow minigames – The fairground connection

Houses – A musical starting point

Potion shops, ghost shops and lakeside laboratory – Little shops of horrors?

Fairy Fountain/start menu – Angelic harps

Music for locations

Chapter 5. Character themes and cutscenes

Part I. Character themes

Zelda’s theme – Lilting lullaby

Ganondorf’s theme – Alarming chords and brooding sequences

Sheik – Atypical warrior’s theme

Kaepora Gaebora (the great wise owl) – Authority and levity

Great Deku Tree – Ancient uncertainty

Koume and Kotake

A noticeable omission

Part II. Other cutscenes

Opening – An unexpected start

Flying – Musical sequences for beating wings

Legends, spirits and goddesses

Rewards and milestones

End credits – Finale ultimo

Ocarina of Time 3D

Music for cutscenes

Chapter 6. Ludic cues

Part I. Combat music

Musical features of combat cues

Implementation in the game

Boss victory cue

Part II. Cues for treasure and challenges

Acquisition cues

Music for puzzles

Music for losing – Game over

Minigames – Frivolous fun

Special sequences

Aestheticizing the Ludic

Chapter 7: Interfaces and sound effects

Earcons for interfaces

Menus and dialogue

Targeting system

Musical sound for interfaces and information

Musicality and magic

Sound and motion

Enemy sound effects

Conclusions

Chapter 8. Ocarina afterlives

Later games

Parallel world – Majora’s mask

Selective franchise continuity

Decontextualizing sound

A multi-valent musical medium

Sujets

Musique

Music

General

Media studies

General officer

Multiple signal classification

COMPUTERS

Informations

Publié par	Intellect Books
Date de parution	30 novembre 2020
Nombre de lectures	5
EAN13	9781789382280
Langue	English
Poids de l'ouvrage	3 Mo

Informations légales : prix de location à la page 0,4250€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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The Legend of Zelda: Ocarina of Time
Studies in Game Sound and Music
Series editors: Melanie Fritsch, Michiel Kamp, Tim Summers, Mark Sweeney
Intellect’s Studies in Game Sound and Music publishes accessible, detailed books that provide in-depth academic explorations of topics and texts in video game audio. The books present detailed analysis, historical investigation and treatment of conceptual and theoretical issues related to game audio.
The series does not seal game audio into a scholarly suburb but is instead outward-looking: it seeks to engage game audio practitioners and researchers from a range of disciplines, including anthropology, performance studies, computer science, media studies, psychology, sociology and sound studies, as well as musicology.
The Legend of Zelda: Ocarina of Time
A Game Music Companion
Tim Summers
First published in the UK in 2021 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2021 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2021 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designers: Adam St. Leger-Honeybone and Holly Rose
Copy editor: Newgen KnowledgeWorks
Production manager: Emma Berrill
Typesetting: Newgen KnowledgeWorks
Print ISBN 978-1-78938-227-3
ePDF ISBN 978-1-78938-229-7
ePub ISBN 978-1-78938-228-0
Series: Studies in Game Sound and Music
ISSN: 2633-065
Printed and bound by Short Run, UK.
To find out about all our publications, please visit
www.intellectbooks.com
There you can subscribe to our e-newsletter, browse or download our current catalogue, and buy any titles that are in print.
This is a work of independent, peer-reviewed scholarship and is not an official Nintendo product.
For Mum and Dad.
Contents
List of Figures
List of Tables
Acknowledgements
A Note on Terminology
Introduction
1. The Music of Ocarina of Time in Context
Nintendo’s Game Franchises
Kondo’s Approach to Music in The Legend of Zelda
Music on the Nintendo 64
Music in Ocarina of Time
2. The Ocarina and Link’s Musical Performances
The Ocarina
The Songs
Zelda’s Lullaby – Confounding Musical Signs of Power
The Song of Time – Musically Evoking the Past
Epona’s Song – A Simple Song of Loss
The Sun’s Song – A Fragmentary New Start
Saria’s Song – A Link Between Worlds
The Song of Storms – A Little Bit of History Repeating
Prelude of Light – Subtle Forward Motion
Minuet of Forest – Blending Age and Liveliness
Bolero of Fire – Motion and Passion
The Serenade of Water – Two Characters, Two Perspectives
Nocturne of Shadow – Mystery and Ambiguity
Requiem of Spirit – Religion and Spirits
The Scarecrow’s Song and Other Performances
Musical Performance in Ocarina of Time
The Function of Musical Performance in Games
3. Location Cues
Hyrule Field: A Familiar Tune
Location Cues Featuring Ocarina Songs
Dungeon Cues
Towns
Recurring Types of Location
4. Character Themes and Cutscenes
Character Themes
Other Cutscenes
5. Ludic Cues
Combat Music
Cues for Treasure and Challenges
6. Interfaces and Sound Effects
Earcons for Interfaces
Musicality and Magic
Sound and Motion
Enemy Sound Effects
Conclusions
7. Ocarina Afterlives
Later Games
Decontextualizing Music
A Multivalent Musical Medium
Epilogue
Bibliography
Index
Index of Cues
Figures
1.1: The author’s long-serving Nintendo 64 console with the Ocarina of Time cartridge loaded.
2.1: A Nintendo 64 controller.
2.2: Link playing the ocarina.
2.3: The pitches and controller buttons used when Link plays the ocarina.
2.4: The underside of the Nintendo 64 controller, shown here with the Rumble Pak loaded.
2.5: Link playing the ocarina in the 3DS remake of Ocarina of Time .
2.6: Link learning an ocarina melody.
2.7: The pause menu showing the incomplete collection of melodies.
2.8: The melody of Zelda’s Lullaby, showing the phrases and scale degrees.
2.9: The Triforce symbol on the ground indicates where Link must play Zelda’s Lullaby.
2.10: The Song of Time showing the implied tonality.
2.11: Malon singing at Lon Lon Ranch.
2.12: Epona’s Song, with the three descending gestures marked.
2.13: The Sun’s Song, showing the fragmentary construction of the melody.
2.14: Saria’s Song, heard in the Lost Woods, with the implied IV–I (plagal) movement marked.
2.15: Link befriends a Skull Kid by playing music with him.
2.16: The Song of Storms showing the phrase structure and implied harmony.
2.17: The organ grinder inside the Kakariko Village windmill.
2.18: Prelude of Light, showing the structure and harmonic movement.
2.19: The accompaniment and melody parts of the Minuet of Forest showing the chord structure and regular accompaniment pattern.
2.20: The mechanistic repeated figure of the Bolero of Fire (opening phrase only shown).
2.21: The snare drum accompaniment pattern for the Bolero of Fire.
2.22: The Serenade of Water, showing the harmonic underpinning.
2.23: After Nicholas Gervais, a reduction of the chords concluding the Serenade of Water, showing the smooth stepwise movement of the notes.
2.24: The melody of the Nocturne of Shadow, showing the ‘smoothing’ of the melody as it is repeated and altered.
2.25: Nocturne of Shadow opening phrase, showing the melody and string accompaniment.
2.26: Requiem of Spirit showing the chord structure, suspension and use of a cantus firmus.
2.27: Pierre and Bonooru.
2.28: Link performs for the Fabulous Five Froggish Tenors.
2.29: Link plays a music memorization game with a pair of Skull Kids.
3.1: Hyrule Field, showing Hyrule Castle to the left of the image, and Death Mountain to the right.
3.2: The characteristic accompaniment for Hyrule Field, showing the rhythmic interplay between parts.
3.3: The ‘Legend of Zelda’ theme, showing the location of characteristic figures.
3.4: Brame’s characteristic figures from the ‘Legend of Zelda’ theme.
3.5: Brass melody in Day Variation 2, alluding to the ‘Zelda theme’.
3.6: String melody in Day Variation 6, Battle Variation 1 (and similar melody used in Reflective Variation 4), alluding to the ‘Zelda theme’.
3.7: Each of the reflective tags alludes to the ‘Zelda theme’.
3.8: The accompaniment pattern to Epona’s Song in the location cue for Lon Lon Ranch, showing the influence from country music (excerpt).
3.9: The gothic architecture of the Temple of Time.
3.10: The oom-pah-pah accompaniment to the Song of Storms in the Kakariko Village windmill, showing the harmonic movement (excerpt).
3.11: Accompaniment for the Lost Woods cue (excerpt).
3.12: Inside the Deku Tree, showing the organic textures of the dungeon.
3.13: Pitch set of the Deku Tree dungeon cue.
3.14: Spectrogram of the first pitch of the Deku Tree dungeon cue, lasting 9 seconds.
3.15: Inside Dodongo’s Cavern, showing the stone and lava textures of the dungeon.
3.16: The piscine interior of Jabu-Jabu’s Belly.
3.17: The heartbeat rhythm of Jabu-Jabu’s Belly.
3.18: The string ostinato of Jabu-Jabu’s Belly
3.19: The entry to the wood-themed Forest Temple.
3.20: A selection of the ‘bird call’ fragments of the Forest Temple dungeon cue.
3.21: The Fire Temple, with some of the fiery dangers pictured.
3.22: The Ice Cavern, showing the clear, icy design of the mini-dungeon.
3.23: A spectrogram of one note of the bell chimes in the Ice Cavern cue.
3.24: Chiming chords of the Ice Cavern.
3.25: The Desert Colossus (top, exterior) which houses the Spirit Temple (bottom, interior).
3.26: Approximate transcription of the reeded melody part of the Spirit Temple. The lines above the notes indicate fluctuations in pitch.
3.27: The waveform of the rattle and whistle sound heard in Ganon’s Castle, showing the swelling dynamic profile of the sound.
3.28: A spectrogram of the rattle and whistle sound heard in Ganon’s Castle, showing the rising pitch of the whistle alongside the descending rasping rattle.
3.29: The chords that start Ganondorf’s organ performance.
3.30: An iteration of the rising sequence from Ganon’s Castle (Tower), illustrating the lumbering rhythm, sequence pattern and the dissonance.
3.31: Ganondorf at the organ.
3.32: The bucolic Kokiri Forest.
3.33: The ornamented melody of Kokiri Forest.
3.34: The Castle Town Market, showing the lively and busy location.
3.35: An extract from the first main melody of the Market cue, showing the accentuation of the compound metre by the rhythm in both the percussion and melody.
3.36: The apocalyptic scene in the Market in the future time zone.
3.37: Goron City, showing the prominent wooden, clay and rope textures.
3.38: The interlocking untuned percussion accompaniment of the Goron City cue.
3.39: The aquatic world of Zora’s Domain.
3.40: The clapping ostinato parts of the Gerudo Valley cue.
3.41: An excerpt of the house cue, indicating the interplay between parts.
3.42: Accompaniment rhythm for the Potion Shop cue. The final triplet figure alternates between two different articulations with each repetition, though the rhythm is the same.
3.43: The inside of a Fairy Fountain.
3.44: The rhythmic interplay of the Fairy Fountain harp parts.
3.45: Outline harmony of the Fairy Fountain cue.
4.1: In Zelda’s Theme, the rhythm of Zelda’s Lullaby is complemented by the accompaniment arpeggio, so each part moves while the other is held (excerpt shown).
4.2: Link meets Zelda, both as a youth (top pictures) and as a young adult (lower pictures). In both time zones, Zelda plays the ocarina.
4.3: Ganondorf is revealed behind Link, when they encounter each