Tim Summers is lecturer in music at Royal Holloway, University of London. He is the author of Understanding Video Game Music and a cofounder of the Ludomusicology Research Group.

• Chapter 1. IntroductionChapter 2. The music of Ocarina of Time in contextNintendo’s game franchisesThe Legend of ZeldaKondo’s approach to music in The Legend of ZeldaMusic on the Nintendo 64Music in Ocarina of TimeChapter 3. The ocarina and Link’s musical performancesThe ocarinaWhy an ocarina?Playing Link’s ocarinaBeyond the four notesLearning the ocarina songsThe songsPlot-advancing and assistance melodiesWarp songsThe Scarecrow’s song and other performancesThe Fabulous Five froggish tenorsThe Skull KidsMusical performance in Ocarina of TimeThe function of musical performance in gamesChapter 4. Location cuesPart I. Hyrule FieldA familiar tuneIntroductionDay tagsReflective tagsBattle tagsMusic, the player and geographyPart II. Location cues featuring ocarina songsEpona’s song and Lon Lon Ranch – Associations of ranch lifeThe Temple of Time and the Song of Time – Cathedral soundscapeWindmill and the Song of Storms – Strange circularitySaria’s song and the Lost Woods – Jolly repetition and misdirectionPart III. Dungeon cuesInside the Deku Tree – Organic timbresDodongo’s Cavern – Audio textures of metal and stoneInside Jabu-Jabu’s belly – Fishy rumblingsForest Temple – Sounds of the forestFire Temple – Voices heard and unheardIce Cavern – Crystalline chimesWater Temple – A dungeon on the Danube?Shadow Temple and the bottom of the well – Voices and drums from the depthsSpirit TempleGanon’s CastlePart IV. TownsKokiri Forest – Optimism and ornamentationCastle Town market – Evoking European traditionsKakariko Village – A wistful safe havenGoron City – Sounding the materials of the mountainZora’s domainGerudo Valley – Hispanic traditions in the desertPart V. Recurring types of locationShops – Hyrule’s consumer soundtrackSideshow minigames – The fairground connectionHouses – A musical starting pointPotion shops, ghost shops and lakeside laboratory – Little shops of horrors?Fairy Fountain/start menu – Angelic harpsMusic for locationsChapter 5. Character themes and cutscenesPart I. Character themesZelda’s theme – Lilting lullabyGanondorf’s theme – Alarming chords and brooding sequencesSheik – Atypical warrior’s themeKaepora Gaebora (the great wise owl) – Authority and levityGreat Deku Tree – Ancient uncertaintyKoume and KotakeA noticeable omissionPart II. Other cutscenesOpening – An unexpected startFlying – Musical sequences for beating wingsLegends, spirits and goddessesRewards and milestonesEnd credits – Finale ultimoOcarina of Time 3DMusic for cutscenesChapter 6. Ludic cuesPart I. Combat musicMusical features of combat cuesImplementation in the gameBoss victory cuePart II. Cues for treasure and challengesAcquisition cuesMusic for puzzlesMusic for losing – Game overMinigames – Frivolous funSpecial sequencesAestheticizing the LudicChapter 7: Interfaces and sound effectsEarcons for interfacesMenus and dialogueTargeting systemMusical sound for interfaces and informationMusicality and magicSound and motionEnemy sound effectsConclusionsChapter 8. Ocarina afterlivesLater gamesParallel world – Majora’s maskSelective franchise continuityDecontextualizing soundA multi-valent musical medium

'Summers does an excellent job of describing the soundscape of a video game within the confines of print, employing a variety of visual representations to support his prose arguments. [...] The Legend of Zelda: Ocarina of Time: A Game Music Companion offers many things to many people: it is an in-depth analysis of a beloved game, a primer on ludomusicological terminology and concepts, a model analysis, a demonstration of the different things video game music can do, and an explication of how it does them. Summers’s attention to detail, wide-ranging knowledge, and affection and respect for the subject matter are evident throughout, resulting in a superb book.'