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

SUMARIO. Chapter 1. Introduction // Chapter 2. The music of Ocarina of Time in context -Nintendo’s game franchises - The Legend of ZeldaKondo’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 songsPlot-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 tuneIntroduction - 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 lifeThe Temple of Time and the Song of Time – Cathedral soundscape - Windmill and the Song of Storms – Strange circularitySaria’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 chimesWater Temple – A dungeon on the Danube? - Shadow Temple and the bottom of the well – Voices and drums from the depths - Spirit TempleGanon’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 sequencesSheik – 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 cuesMusic 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.