“So medieval like, so gentle, so perfect”: as categorias musicais da banda sonora do videojogo The Elder Scrolls IV: Oblivion

• Autor(a) principal: Freitas, Joana
• Data de Publicação: 2018
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.34627/rcc.v12iEspecial.14

Video game music is responsible for a lot of activity with various purposes by users in multiple online spaces. It is possible to observe the creation of playlists organized by environments, character, etc., such as "epic," "instrumental," or "atmospheric”, intersecting several game soundtracks. In this article, it’s examined how music is systematized and inserted into categories related to the different environments proposed in the game The Elder Scrolls IV: Oblivion when exploring specific musical resources that are used according to the nomenclature applied to each track, especially the rhythm, pitch, tempo and orchestration. Observing the imageries present in the game, their construction and their reinforcement through the soundtrack that accompanies the narrative and the personal experience of the player during the gameplay, the soundtrack can be considered a deposit of meanings associated to the actions, ambients and contexts proposed to the user