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Roncken, Leroy. 2021. Sculpting with Scores

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Roncken, Leroy. 2021. Sculpting with Scores Research Master’s Thesis Musicology Utrecht University Department of Media and Culture Studies Sculpting with Scores: Musical World-Building in Medievalist Role-Playing Games by Leroy Roncken 5952999 Supervisor: Dr Michiel Kamp Second Reader: Dr Mark Sweeney 18 June, 2021 Word count of main text, footnotes, and bibliography: 35,508 The music on the cover is an excerpt from my transcription of “King and Country” (Jeremy Soule, The Elder Scrolls IV: Oblivion). Thank you, Michiel, for your guidance and enthusiasm, and for inspiring me to pursue my passion for video game music. Leroy Roncken Abstract Music is a core part of video games for numerous reasons: it can contextualise the game and provide structure, communicate gameplay information, evoke feelings and emotions, or it can simply be enjoyable to listen to. But music can do much more: it has the power to influence perception and shape gameworlds. Numerous existing studies investigate how video game music contextualises gameworlds historically, culturally, and topographically. These studies mainly rely on the use of cultural and genre-specific conventions. However, convention- based approaches have repeatedly brushed over many ways in which music can establish and enrich gameworlds. Studies that do examine other types of musical world-building besides broad contextualisation are rare and narrow in scope. Consequently, the abilities of music to define and enrich environmental details remain underexamined. In this thesis, I make a start towards a comprehensive theory of musical world-building that addresses how music develops gameworlds on large and small scales—from general moods to specific game objects. I do this by proposing and applying a method that focuses on intrinsic musical techniques. This means examining a video game’s score from a formalist perspective and avoiding other factors external to the game—notably conventions—to explain what music does for the gameworld and why. As I demonstrate in this thesis, this thought process can prompt an increased awareness of subtle instances of musical world-building that would otherwise likely go unnoticed. Because of the emphasis on intrinsic musical techniques, I propose the theory of intrinsic musical world-building. This theory requires an alternative approach to that when examining conventional contextualisation. However, the two diverging approaches are most valuable for understanding world-building when considered as complementing rather than challenging each other. I demonstrate my theory of intrinsic musical world-building by analysing how music shapes recurring environment types in medievalist role-playing games—a game genre that relies heavily on world-building. More specifically, after explaining the relation of this genre to musical world-building and explaining my methodology, I analyse scoring strategies for constructing forests, urban environments, and magical settings through a diverse selection of in-depth case studies. This thesis ultimately shows just how far music can go in building gameworlds beyond the limitations of the screen. v Sculpting with Scores Contents List of Images, Figures, and Transcriptions........................................................................... viii Introduction ................................................................................................................................ 1 0.1 Existing World-Building Studies and the Difficulties of Scope ................................. 3 0.2 Semiotic versus Background Hearing ......................................................................... 4 0.3 Conventions and their Pitfalls ..................................................................................... 6 0.4 Towards a Theory of Musical World-Building ........................................................... 9 Chapter 1. World-Building in Medievalist Role-Playing Games ............................................ 10 1.1 Medievalist Role-Playing Games and their Music .................................................... 10 1.2 World-Building or World-Creation? ......................................................................... 12 Chapter 2. Methodology .......................................................................................................... 15 2.1 Formalist Music Analysis ......................................................................................... 15 2.2 The Psychology of Music Perception........................................................................ 16 2.3 Cross-Media Analogies ............................................................................................. 21 Chapter 3. The Music of Forests: Creation and Recreation ..................................................... 24 3.1 The Timbre of Timber ............................................................................................... 25 3.2 The Modal Neutrality of Nature ................................................................................ 33 3.3 Rhythmical Rambling ............................................................................................... 40 3.4 Materialising the Forest ............................................................................................. 41 3.5 Bringing the Forest into the Room ............................................................................ 56 Chapter 4. The Music of Towns and Cities: Regimented Activity .......................................... 58 4.1 The Modal Neutrality of the Urban ........................................................................... 58 4.2 Heroes, Mountains, Cities, Fourths, and Fifths ......................................................... 60 4.3 The Stable Hustle-Bustle of Urban Rhythms ............................................................ 64 4.4 Applications of Medievalist Ensembles and Romantic Orchestras .......................... 67 4.5 Shaping the Towns and Cities of Medievalist RPGs ................................................ 73 Chapter 5. The Music of Magic: Fables, Witchcraft, and Miracles ......................................... 74 5.1 Chromatic Magic ....................................................................................................... 74 5.2 Outlandish Orchestras ............................................................................................... 84 5.3 Stasis.......................................................................................................................... 90 5.4 Making Magic Palpable ............................................................................................ 94 Conclusion ............................................................................................................................... 96 vi Leroy Roncken Bibliography .......................................................................................................................... 100 Literature ............................................................................................................................ 100 Images ................................................................................................................................ 104 Ludography ........................................................................................................................ 105 vii Sculpting with Scores List of Images, Figures, and Transcriptions Images are screenshots of video games taken by me, unless otherwise credited. All figures and transcriptions were made by me. I used Dorico 3.5 (Steinberg) for all music notation and Sonic Visualiser (Centre for Digital Music at Queen Mary, University of London) for the spectrogram. All transcriptions are non-transposing unless otherwise specified, with the exception of the double basses, which sound an octave lower than written. References to the video games are given in full in the Ludography. Cues are named as they appear on the official soundtrack releases, unless otherwise specified. Image 0.1: mercenaries riding through a forest in Kingdom Come: Deliverance. .................... 1 Image 3.1: the green and sunny Toussaint (Witcher 3). .......................................................... 26 Image 3.2: tree-covered hills in pre-Searing Ascalon (Guild Wars). ...................................... 32 Image 3.3: An Skellig (Witcher 3). .......................................................................................... 43 Image 3.4: the lush forest next to the town of Lyndow (Eastshade). ...................................... 45 Image 3.5: Oakvale (Fable). .................................................................................................... 52 Image 4.1: the city of Cheydinhal (Oblivion). ......................................................................... 63 Image 4.2: Hierarch Square in Novigrad (Witcher 3). ............................................................. 64 Image 4.3: Greyfell (SpellForce 3). ......................................................................................... 67 Image 4.4: the streets of Rattay (Kingdom Come). .................................................................. 70 Image 5.1: a colourful glade in Teldrassil (World of Warcraft.) ............................................. 77 Image 5.2: the monastery of La Valette Castle (Witcher 2). ................................................... 80 Image 5.3: a Wood Nymph summoning scorpions using colourful magic in Fable. .............. 86 Image 5.4: the Land of a Thousand Fables (Witcher
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