The score, composed by Nintendo’s in-house MVP Koji Kondo, was the first that truly thrived outside of its originating medium, a game centered around an ancient flute-like instrument.
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The soundtrack for Ocarina of Time, the fifth edition of The Legend of Zelda-a flagship series for Nintendo that inspires such slavish devotion, both Robin Williams’ daughter and Seth Rogen’s spaniel share its name-was so full of creativity and color and wonder that it presented the most convincing possible case to argue game music belongs in the canon. Game soundtracks rarely pad out year-end lists or are regularly reviewed in music magazines, let alone considered as credible listening options outright. Yet there is a disconnect between its outsize popularity and its critical recognition. Ever since those four notes guided enemies down the screen in 1978’s Space Invaders, video game music has remained one of the most commonly heard sounds across the world.
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