Host Fred Child was interviewing Emily Reece, the creator of Top Score, a weekly podcast on MPR that explores the art of music in video games. Reece joined MPR in 2008 and has hosted the podcast since 2011; you can read more about its origins here.
At the point when I began listening, Reece was making a connection between a video game called Guild Wars 2 and the turn-of-the-last century English composer Ralph Vaughn Williams.
“[Vaughn Williams] just had a bead on writing lush music. He could write something that made your heart melt – and in a lot of ways, I feel that way when I listen to music that Jeremy Soule wrote for Guild Wars 2,” Reece said. “I feel it kind of borrows on that lush English tradition, even though I’m not even particularly certain that’s what he had in mind.”
Child then played a song from the game called “Call of the Raven.” You can listen to it here:
Reece and Child went on to discuss the connections between the music of Vaughn Williams and of Soule – the orchestral textures, the use of solo instruments and of the harp, which Reece said is often used in fantasy.
“It gives us the sense of being in a different place and in a different time. Instrumental choices like that can do that for us,” she said.
Child said the music of both composers also reminded him of movie score soundtracks, and Reece agreed, noting that Vaughn Williams’ unique sound, with full orchestra and lots of strings, reminded her of a song that John Barry composed for the movie Dances with Wolves: the John Dunbar theme, which is among my favorite movie songs.
I had to shut off the radio when I arrived at the tennis courts. But I was soon back in the car with Elias, telling him about the program, and we listened to it all the way home. Once we got inside, I turned on the radio in the kitchen so I could hear the rest of the hour-long program.
I should mention, in case you don’t know me well, that I am not a big fan of video games. I really have no interest in playing them myself. But my kids are fans of them, so in the past few years I have made a conscious effort to be a little more open-minded about recognizing the positive qualities of video games.
Thanks to Elias and Sebastian, I already was aware that some video games incorporate more complex music into their story lines, way beyond the bleeps and buzzes of 1980s arcade games. The boys often fall asleep listening to the Legend of Zelda 25th Anniversary special orchestra CD. It is a medley of music from the various Legend of Zelda games, all of which involve a hero named Link. I do like the songs on the CD – they evoke adventure, drama, and suspense, and the phrases and melodies can stick in your head much like the great music written for movies.
But still, my mind was a little bit blown last week when I realized that composing music for video games is a growing field. Listening to the radio program expanded my appreciation for the link between music and video games, and talking about that link with my younger son was one of highlights of the week for me.
What I find exciting, and important, is that it is another way to introduce young people to orchestral music – much like people of my generation were exposed to opera and Wagner through Bugs Bunny (“Kill the Wabbit, Kill the Wabbit”).
It’s impossible to know what my great-grandfather, G. Oliver Riggs, would have thought about music composed for video games. However, his band concert programs 100 years ago did include excerpts from operas and popular songs of the day as well as marches. He also liked to challenge his players with intricate pieces of music.
|Program from a 1909 band concert in Crookston, Minn.|