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E-grāmata: Legend of Zelda: Ocarina of Time: A Game Music Companion

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More than twenty 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 center. 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.

Recenzijas

'Summers does an excellent job of describing the soundscape of a video game within the confines of print, employing a variety of visual representations to support his prose arguments. [ ...] The Legend of Zelda: Ocarina of Time: A Game Music Companion offers many things to many people: it is an in-depth analysis of a beloved game, a primer on ludomusicological terminology and concepts, a model analysis, a demonstration of the different things video game music can do, and an explication of how it does them. Summerss attention to detail, wide-ranging knowledge, and affection and respect for the subject matter are evident throughout, resulting in a superb book.' -- Sarah Pozderac-Chenevey, Journal of Sound and Music in Games

List of Figures
ix
List of Tables
xv
Acknowledgements xvii
A Note on Terminology xix
Introduction 1(3)
1 The Music of Ocarina of Time in Context
4(17)
Nintendo's Game Franchises
4(5)
Kondo's Approach to Music in The Legend ofZelda
9(3)
Music on the Nintendo 64
12(4)
Music in Ocarina of Time
16(5)
2 The Ocarina and Link's Musical Performances
21(57)
The Ocarina
21(14)
The Songs
35(1)
Zelda's Lullaby - Confounding Musical Signs of Power
35(3)
The Song of Time - Musically Evoking the Past
38(2)
Epona's Song - A Simple Song of Loss
40(2)
The Sun's Song - A Fragmentary New Start
42(1)
Saria's Song - A Link Between Worlds
43(3)
The Song of Storms - A Little Bit of History Repeating
46(4)
Prelude of Light - Subtle Forward Motion
50(1)
Minuet of Forest - Blending Age and Liveliness
51(2)
Bolero of Fire - Motion and Passion
53(2)
The Serenade of Water - Two Characters, Two Perspectives
55(1)
Nocturne of Shadow - Mystery and Ambiguity
56(3)
Kequiem or spirit - Kengion and Spirits
59(3)
The Scarecrow's Song and Other Performances
62(7)
Musical Performance in Ocarina of Time
69(2)
The Function of Musical Performance in Games
71(7)
3 Location Cues
78(101)
Hyrule Field: A Familiar Tune
81(23)
Location Cues Featuring Ocarina Songs
104(7)
Dungeon Cues
111(34)
Towns
145(15)
Recurring Types of Location
160(19)
4 Character Themes and Cutscenes
179(36)
Character Themes
179(13)
Other Cutscenes
192(23)
5 Ludic Cues
215(36)
Combat Music
215(12)
Cues for Treasure and Challenges
227(24)
6 Interfaces and Sound Effects
251(23)
Earcons for Interfaces
251(8)
Musicality and Magic
259(2)
Sound and Motion
261(1)
Enemy Sound Effects
262(1)
Conclusions
263(11)
7 Ocarina Afterlives
274(14)
Later Games
274(4)
Decontextualizing Music
278(2)
A Multivalent Musical Medium
280(8)
Epilogue 288(3)
Bibliography 291(12)
Index 303(9)
Index of Cues 312
Tim Summers is lecturer in music at Royal Holloway, University of London. He is the author of Understanding Video Game Music and a cofounder of the Ludomusicology Research Group.