Jenuall wrote:The ambient, resonating, 'finger running around the rim of a glass', harmonic sounds of OOT are the best bit about it's soundscape though.
Jenuall wrote:The ambient, resonating, 'finger running around the rim of a glass', harmonic sounds of OOT are the best bit about it's soundscape though.
For reals though this is a great way of describing the effect.
Fair enough though Jenuall and Balladeer, I guess music is less overtly important an ingredient to you guys in the Zelda cocktail. I'm in the OR camp though, methinks.
In fact that last Skyward Sword thing I wrote kept getting waylaid by the phrase 'Zelda
is Music', because after I though of it I kept thinking about it (sometimes I wonder if games are basically my favourite vehicle of music full stop). But I find it really interesting to think about because I don't even like splitting video games into music, graphics, controls and so on - I reckon when played these things inform each other too much to be meaningfully separated (though I totally get what you said before Balladeer about melodic music and listening to it outside of games. Some of my favourite video game tracks are from games I've not played, which I think might be due to an over-arching video game sensibility of music
though that's a different post).
In fact I often like to think about how music (i.e. in Zelda) is not some kind of overlying adornment, or tone calibration, but as physical and mechanical a part of the adventure as any. Some examples off the top of my head:
1) Pre-BotW Music was often tied to specific places. This made the places
more discreet from each other in feel, so added a sense of variety and progression to the quest.
2) Heroic themes like Hyrule Field theme add a sense of player-centred heroism, almost a divine-eye type aggrandization, and with it the feeling that your actions or somehow meaningful and witnessed (by history? by God? by aligning oneself with some narrative sense of order?)
3) When the music drops to just ambient sounds - such as at night in the overworld, or when saying goodbye to Saria on a bridge - it feels like super-silence, like an inverse beat-drop, a tonal key-change, a potential-energy of quietness that only comes after music has been there. This gives real range to the mood palette, compared to the constant music of other games. Like HDR for your ears. Then there's those wake-up bird-like Morning-Is-Breaking strings which feel like colour on a dark canvas.
4) The Ocarina songs in OOT (say) are all very different (and all are bangers). But when you've first learned them or teleport using them, they end by morphing into an optimistic, heroic end bit that lends an over-arching sense of continuity to everything - as if re-syncing with some higher order of adventure.
5) The fantasy of Zelda in general is only partly from its setting and dressings, and more so from its mode - in which everything is inflected by music, and thus also hard-baked with something less literal than just visual happenings, instead also something lyrical, poetic, transcendent.
6) Regular interludes like Link jamming on his Ocarina with Sheikh and so on are punctuation in the adventure, moments that raise the journey above the core events, alchemising it, more than the sum of its happenings. But also more generally area music means that events happen in with a twist, where time does not move in the steady silence of reality, instead somehow a little warped, stretched-or-slowed-or-suspended by the musical rhythms and stuff associated to them.
7) Making the Ocarina (or wind baton, or harp, or whatever) a gameplay device collapses the functional/mechanical and the aesthetic/textural - these events we witness are not like normal events - everything is gilded and in this world even music literally moves things, makes things
happen. Everything here is song, Zelda is just a music given movement and space.
8) Even the sound of textboxes closing or whatever is scored by little scales/flurries of notes - this is aural colour and it is everywhere, it gives shape and body to abstract,
potential things, things that don't normally have them (i.e. the ending-of a dialogue).
9) I really like the Island in the Sky theme from SS. Calmer than a Resi safe room.
Anyway I've gotta go now but that's what came to mind. I think the music is intractable from the legend.