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