The Legend of Zelda: Ocarina of Time: A Game Music Companion

Contents

• 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