{"product_id":"the-legend-of-zelda-ocarina-of-time-a-game-music-companion-9781789382273","title":"The Legend of Zelda: Ocarina of Time: A Game","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eSome 22 years after its creation, \u003cem\u003eThe Legend of Zelda: Ocarina of Time\u003c\/em\u003e 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.\u003c\/p\u003e  \u003cp\u003eGiven 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 \u003cem\u003eOcarina of Time\u003c\/em\u003e, 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 \u003cem\u003eOcarina of Time\u003c\/em\u003e 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.\u003c\/p\u003e  \u003cp\u003eThe 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.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003e'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. Summers’s attention to detail, wide-ranging knowledge, and affection and respect for the subject matter are evident throughout, resulting in a superb book.'\u003c\/em\u003e\u003c\/p\u003e -- Sarah Pozderac-Chenevey, Journal of Sound and Music in Games\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eChapter 1. Introduction\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 2. The music of \u003cem\u003eOcarina of Time \u003c\/em\u003ein context\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eNintendo’s game franchises\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eThe Legend of Zelda\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eKondo’s approach to music in \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003eLegend of Zelda\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eMusic on the Nintendo 64\u003c\/p\u003e  \u003cp\u003eMusic in \u003cem\u003eOcarina of Time\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 3. The ocarina and Link’s musical performances\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eThe ocarina\u003c\/p\u003e  \u003cp\u003eWhy an ocarina?\u003c\/p\u003e  \u003cp\u003ePlaying Link’s ocarina\u003c\/p\u003e  \u003cp\u003eBeyond the four notes\u003c\/p\u003e  \u003cp\u003eLearning the ocarina songs\u003c\/p\u003e  \u003cp\u003eThe songs\u003c\/p\u003e  \u003cp\u003ePlot-advancing and assistance melodies\u003c\/p\u003e  \u003cp\u003eWarp songs\u003c\/p\u003e  \u003cp\u003eThe Scarecrow’s song and other performances\u003c\/p\u003e  \u003cp\u003eThe Fabulous Five froggish tenors\u003c\/p\u003e  \u003cp\u003eThe Skull Kids\u003c\/p\u003e  \u003cp\u003eMusical performance in \u003cem\u003eOcarina of Time\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003eThe function of musical performance in games\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 4. Location cues\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003ePart I. Hyrule Field\u003c\/p\u003e  \u003cp\u003eA familiar tune\u003c\/p\u003e  \u003cp\u003eIntroduction\u003c\/p\u003e  \u003cp\u003eDay tags\u003c\/p\u003e  \u003cp\u003eReflective tags\u003c\/p\u003e  \u003cp\u003eBattle tags\u003c\/p\u003e  \u003cp\u003eMusic, the player and geography\u003c\/p\u003e  \u003cp\u003ePart II. Location cues featuring ocarina songs\u003c\/p\u003e  \u003cp\u003eEpona’s song and Lon Lon Ranch – Associations of ranch life\u003c\/p\u003e  \u003cp\u003eThe Temple of Time and the Song of Time – Cathedral soundscape\u003c\/p\u003e  \u003cp\u003eWindmill and the Song of Storms – Strange circularity\u003c\/p\u003e  \u003cp\u003eSaria’s song and the Lost Woods – Jolly repetition and misdirection\u003c\/p\u003e  \u003cp\u003ePart III. Dungeon cues\u003c\/p\u003e  \u003cp\u003eInside the Deku Tree – Organic timbres\u003c\/p\u003e  \u003cp\u003eDodongo’s Cavern – Audio textures of metal and stone\u003c\/p\u003e  \u003cp\u003eInside Jabu-Jabu’s belly – Fishy rumblings\u003c\/p\u003e  \u003cp\u003eForest Temple – Sounds of the forest\u003c\/p\u003e  \u003cp\u003eFire Temple – Voices heard and unheard\u003c\/p\u003e  \u003cp\u003eIce Cavern – Crystalline chimes\u003c\/p\u003e  \u003cp\u003eWater Temple – A dungeon on the Danube?\u003c\/p\u003e  \u003cp\u003eShadow Temple and the bottom of the well – Voices and drums from the depths\u003c\/p\u003e  \u003cp\u003eSpirit Temple\u003c\/p\u003e  \u003cp\u003eGanon’s Castle\u003c\/p\u003e  \u003cp\u003ePart IV. Towns\u003c\/p\u003e  \u003cp\u003eKokiri Forest – Optimism and ornamentation\u003c\/p\u003e  \u003cp\u003eCastle Town market – Evoking European traditions\u003c\/p\u003e  \u003cp\u003eKakariko Village – A wistful safe haven\u003c\/p\u003e  \u003cp\u003eGoron City – Sounding the materials of the mountain\u003c\/p\u003e  \u003cp\u003eZora’s domain\u003c\/p\u003e  \u003cp\u003eGerudo Valley – Hispanic traditions in the desert\u003c\/p\u003e  \u003cp\u003ePart V. Recurring types of location\u003c\/p\u003e  \u003cp\u003eShops – Hyrule’s consumer soundtrack\u003c\/p\u003e  \u003cp\u003eSideshow minigames – The fairground connection\u003c\/p\u003e  \u003cp\u003eHouses – A musical starting point\u003c\/p\u003e  \u003cp\u003ePotion shops, ghost shops and lakeside laboratory – Little shops of horrors?\u003c\/p\u003e  \u003cp\u003eFairy Fountain\/start menu – Angelic harps\u003c\/p\u003e  \u003cp\u003eMusic for locations\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 5. Character themes and cutscenes\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003ePart I. Character themes\u003c\/p\u003e  \u003cp\u003eZelda’s theme – Lilting lullaby\u003c\/p\u003e  \u003cp\u003eGanondorf’s theme – Alarming chords and brooding sequences\u003c\/p\u003e  \u003cp\u003eSheik – Atypical warrior’s theme\u003c\/p\u003e  \u003cp\u003eKaepora Gaebora (the great wise owl) – Authority and levity\u003c\/p\u003e  \u003cp\u003eGreat Deku Tree – Ancient uncertainty\u003c\/p\u003e  \u003cp\u003eKoume and Kotake\u003c\/p\u003e  \u003cp\u003eA noticeable omission\u003c\/p\u003e  \u003cp\u003ePart II. Other cutscenes\u003c\/p\u003e  \u003cp\u003eOpening – An unexpected start\u003c\/p\u003e  \u003cp\u003eFlying – Musical sequences for beating wings\u003c\/p\u003e  \u003cp\u003eLegends, spirits and goddesses\u003c\/p\u003e  \u003cp\u003eRewards and milestones\u003c\/p\u003e  \u003cp\u003e End credits – Finale ultimo\u003c\/p\u003e  \u003cp\u003eOcarina of Time 3D\u003c\/p\u003e  \u003cp\u003eMusic for cutscenes\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 6. Ludic cues\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003ePart I. Combat music\u003c\/p\u003e  \u003cp\u003eMusical features of combat cues\u003c\/p\u003e  \u003cp\u003eImplementation in the game\u003c\/p\u003e  \u003cp\u003eBoss victory cue\u003c\/p\u003e  \u003cp\u003ePart II. Cues for treasure and challenges\u003c\/p\u003e  \u003cp\u003eAcquisition cues\u003c\/p\u003e  \u003cp\u003eMusic for puzzles\u003c\/p\u003e  \u003cp\u003e Music for losing – Game over\u003c\/p\u003e  \u003cp\u003eMinigames – Frivolous fun\u003c\/p\u003e  \u003cp\u003eSpecial sequences\u003c\/p\u003e  \u003cp\u003eAestheticizing the Ludic\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 7: Interfaces and sound effects\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eEarcons for interfaces\u003c\/p\u003e  \u003cp\u003eMenus and dialogue\u003c\/p\u003e  \u003cp\u003eTargeting system\u003c\/p\u003e  \u003cp\u003eMusical sound for interfaces and information\u003c\/p\u003e  \u003cp\u003eMusicality and magic\u003c\/p\u003e  \u003cp\u003eSound and motion\u003c\/p\u003e  \u003cp\u003eEnemy sound effects\u003c\/p\u003e  \u003cp\u003eConclusions\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eChapter 8. Ocarina afterlives\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003eLater games\u003c\/p\u003e  \u003cp\u003eParallel world – Majora’s mask\u003c\/p\u003e  \u003cp\u003eSelective franchise continuity\u003c\/p\u003e  \u003cp\u003eDecontextualizing sound\u003c\/p\u003e  \u003cp\u003eA multi-valent musical medium\u003c\/p\u003e","brand":"Intellect Books","offers":[{"title":"Default Title","offer_id":51042573910359,"sku":"9781789382273","price":76.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781789382273.jpg?v=1750954699","url":"https:\/\/bookcurl.com\/products\/the-legend-of-zelda-ocarina-of-time-a-game-music-companion-9781789382273","provider":"Book Curl","version":"1.0","type":"link"}