UNIVERSITY of CALIFORNIA Los Angeles the Music of World Of
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UNIVERSITY OF CALIFORNIA Los Angeles The Music of World of Warcraft Lore of Epic Music A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Xavier Derrick Werlé 2014 © Copyright by Xavier Derrick Werlé 2014 ABSTRACT OF THE DISSERTATION The Music of World of Warcraft Lore of Epic Music by Xavier Derrick Werlé Doctor of Philosophy in Music University of California, Los Angeles, 2014 Professor Ian Krouse, Chair Abstract for Analytical Monograph: Epic role playing games such as the World of Warcraft are accompanied by epic music which intensifies the players' in-game experience and sensations. This raises the question: What makes music epic? No prior research has been done regarding video game music. There is a pressing need to conduct research that concentrates on the musical aspect of video games, because this music represents some of the most significant composition of our time. World of Warcraft is the first successful online epic video game with twelve million subscribers monthly at its peak in 2010. Since the original game was released on November 23rd, 2004, four expansions have been released and the music of World of Warcraft has evolved yet remains epic. This research will examine the particularity of composing music ii for the World of Warcraft, trace back the tradition of epic music, analyze the orchestral scores and original soundtracks, and dissect their harmony, counterpoint, instrumentation, orchestration, form and style. Knowing what elements of music make epic will help morphing epic narratives into epic music, thus enhance epic game experience. Abstract for Music Composition: The Musical Stories of the Greatest General in History, Hannibal Barca of Carthage in 6 stories (6 files), composed entirely with electronic sound libraries and digital audio workstation without live musicians. Music files are accessible through the following link: https://soundcloud.com/ucla-werle/sets/hannibal-barca Supplementary files description: - Naissance The birth of a Great General of Carthage, his destiny, his story! - Panic at the Roman Forum Delenda Carthago! It's the speech made by Caton at the Roman Forum to incite the hatred towards Carthaginians while Hannibal is approaching Rome through the Alps with elephants from Africa! - Expedition to Rome Hannibal's plan to attack Rome through the Alps forces his army to march through Gaul, the modern day France. iii However he encountered two huge obstacles: the Rhône River and the Alps. This music tells the story of the Gaulish village, the Rhône river, its sources including Lake Léman and the passing of Rhône river by night. It ends with the amazing and unthinkable crossing of the Alps with Elephants from Africa! (Look out you will hear elephants!!) :) - The last moments (Les derniers moments) Hannibal was chased by the Romans and in exile. However, Hannibal was determined not to fall into his enemies' hands. At Libyssa on the eastern shore of the Sea of Marmara, he took poison that he carried with him under the gem of his ring. Before dying, he left behind a letter declaring, "Let us relieve the Romans from the anxiety they have so long experienced, since they think it tries their patience too much to wait for an old man's death." He was having some flash backs of his childhood, his father, his family, and above all life in Carthage back then in his memory... - Festive Carthage Life in Carthage as envied by Romans. - Carthage after the Roman holocaust The desolation in Carthage after the roman holocaust. iv The Dissertation of Xavier Derrick Werlé is approved. Roger Bourland Michael Dean Stephen Mamber Ian Krouse, Committee Chair University of California, Los Angeles 2014 v Table of Content: 1. Introduction...........................................................................................................2 1.1. World of Warcraft , the Game....................................................................................2 1.1.1. A Massively Multiplayer Online Role-Playing Game........................................2 1.1.2. The Lore..............................................................................................................4 1.1.3. The Game play....................................................................................................4 1.1.3.1. Choosing a character ................................................................................................4 1.1.3.2. Professions................................................................................................................7 1.1.3.3. Quests .......................................................................................................................7 1.1.3.4. Instances ...................................................................................................................8 1.1.3.4.1. Scenario, Dungeon, and Raid ....................................................................................8 1.1.3.4.2. Battleground, Arena, War Game .............................................................................10 1.1.3.4.3. Battleground Scenario .............................................................................................11 1.1.3.5. Leveling and Gear Grinding...................................................................................11 1.2. World of Warcraft , the Music .................................................................................12 1.2.1. Musical Diversity, the Composers....................................................................12 1.2.2. Musical Unity, the Styles..................................................................................16 1.2.2.1. Epic Music Style.....................................................................................................16 1.2.2.2. Ambient Music Style..............................................................................................17 1.2.2.3. Folk Music Style.....................................................................................................19 1.3. Background .............................................................................................................20 1.3.1. An Academic Need...........................................................................................20 1.3.2. Video Game Music as a Discipline...................................................................21 2. The Art of Composing Music for World of Warcraft .......................................23 2.1. Trailer Music...........................................................................................................24 2.2. In-Game Music........................................................................................................24 2.2.1. Login Music......................................................................................................25 2.2.2. Loading Music ..................................................................................................27 2.2.3. In-Game Cinematic Music................................................................................28 2.2.4. Zone Music .......................................................................................................29 2.2.5. Source Music ....................................................................................................31 2.2.6. Signpost Music..................................................................................................32 2.2.7. Event Music and Signal Music .........................................................................32 vi 2.2.8. Sound design/ Bruitage /Foley/Ambient Noise ..................................................34 2.3. Ambiguity of In-Game Music ................................................................................35 2.3.1. Ambiguity of Zone, Source, Signpost and Event Music ..................................36 2.3.2. Ambiguity of Zone/General vs. Ambient Music vs. Ambient Noise ...............38 2.3.3. Ambiguity of Event Music and In-Game Cinematic Music .............................39 2.3.4. Ambiguity of Signal Music and Sound Design/ Bruitage .................................40 3. "Epicness" - Lore of Epic Music .......................................................................42 3.1. Definition of "Epicness".........................................................................................42 3.2. "Epicness" in Music ...............................................................................................44 3.2.1. Epic Music in History.......................................................................................44 3.2.2. Epic Music Today.............................................................................................50 3.3. "Epicness" in Video games ....................................................................................51 3.3.1. In the Narrative .................................................................................................51 3.3.2. In the Music ......................................................................................................52 4. Quintessence of "epic music" in World of Warcraft .........................................53 4.1. The Making of Epic Music in World of Warcraft .................................................53 4.1.1. The Music per se...............................................................................................53 4.1.1.1. Roles of Music in World of Warcraft .....................................................................53