Video Game Music Final
Terms in this set (14)
7th Guest, 1992 (PC) George Sanger
One of the first PC games to use pre-recorded music, allowing for the use of voices
Myst, 1993 (PC) Robyn Miller
Strategically uses mostly environmental sounds during gameplay, as well as minimal ambient music to avoid listener fatigue (puzzles could take several hours to finish)
Quake, 1996 (PC) Trent Reznor
A primary example of cross-fertilization of game audio by a major popular music figure; aside from the industrial rock style, the soundtrack, like Myst's, features minimal ambient sections to avoid listener fatigue.
Grim Fandango, "Swanky Maximino", 1998 (PC) Peter McConnell
McConnell's music for Grim Fandango was recorded primarily by San Fransisco's Mission District jazz and Latin music performers. Most of the gritty timbres and between-the-notes smears would have been impossible to synthesize; thus, it is one of the first game soundtracks to fully take advantage of pre-recorded music, played by real humans.
Total Annihilation, "Forest Green", 1997 (PC) Jeremy Soule
Total Annihilation's soundtrack was recorded by the Northwest Sinfonia, a recording orchestra (primarily employed by the film and game industries). It was one of the first games to use a pre-recorded real orchestra for symphonic music, something which brought Soule and the game critical acclaim. "Forest Green" is another example of Soule's use of rhythmically interlocking and polyrhythmic layers between trumpets and horns in his battle music.
Final Fantasy VII, "One-Winged Angel", 1997 (Playstation + PC) Nobuo Uematsu
"One-winged Angel" has spawned numerous imitations in other video game soundtracks, as well as arrangements for live performance. It is typical of Uematsu's villian music: often metrically complex, drawing influence from progressive rock, with quirky, chromatic, "insane" melodic lines to accompany the mental instability of the villain. Furthermore, this work bears the obvious influence of Jimi Hendrix's Purple Haze, Bernard Hermann's Psycho violin-stabbing-theme, and Carl Orff's Carmina Burana.
Neverwinter Nights, "Neverwinter Wood", 2002 (PC) Jeremy Soule
"Neverwinter Wood" illustrates Soule's self-proclaimed harmonic (and orchestrational) influence by French composer Claude Debussy. Compare to Debussy's Prelude to the Afternoon of a Faun (1894); most of Soule's music for pastoral settings bears this influence.
Metroid Fusion, 2002 (Gameboy Advance) Minako Hamano and Akira Fujiwara
Although musically well-crafted, the soundtrack and sound effects to Metroid Fusion are notably muted in the high-frequency range (because of a low sampling rate) and somewhat "fuzzy" (because of a low bit depth). This is typical of Game Boy Advance titles; the onboard synthesis was comparable to the SNES, but with a lower fidelity.
Fallout 3, "What Remains", 2008 (PC) Inon Zur
Inon Zur's music is noted for its timbral variety. "What remains" illustrates his style of blending sounds of the diegetic world (wind, "coyote" howls, ominous distant explosions) into the non-diegetic music.
Fallout 3, "Old Lands, New Frontiers", 2008 (PC) Inon Zur
Frequently, Zur's timbral variety comes from his use of non-Western instruments. Negatively, "Old Lands, New Frontiers" might be thought of as a bricolage of appropriated and caricatured "exotic" timbres, used to signify Otherness and primitive authenticity. Positively, this same process might not be viewed as appropriation at all, but rather cultural cross-fertilization, resulting in an artistic whole that is greater than the sum of its parts.
Hate Plus OST, "It's not Ero!"
Analogue: A Hate Story OST, "Hyun-ae"
Depression Quest OST, "Depression Quest"
Redshirt OST, "All Clear"