Instruct: Given a question, retrieve relevant documents that can help answer the question.
Query: Who wrote the Zelda theme song?
Koji Kondo(近藤 浩治,Kondō Kōji, born August 13, 1961) is a Japanese music composer, pianist, and sound director who works for the video game company Nintendo. He is best known for his involvement in numerous contributions in the Mario and The Legend of Zelda series of video games, among others produced by the company. Kondo was originally hired by Nintendo in 1984, becoming the first person hired by them to specialize in musical composition for games. Shortly after, Kondo was assigned as the sound designer on the 1985 game Super Mario Bros. His sound design for the game, more specifically the musical theme for the overworld, have often been cited as among the most memorable in video games.
Zelda developed a bond with a young female resident, Dr. Mildred Squires, and toward the end of February she shared an aspect of her novel with Squires, who wrote to Scott that the novel was vivid and had charm. Meanwhile, Scott became worried that Zelda's treatment would consume all his money, so he set aside his novel to work on short stories to fund the treatment. Zelda wrote to Scott from the hospital, "I am proud of my novel, but I can hardly restrain myself enough to get it written. You will like it—It is distinctly École Fitzgerald, though more ecstatic than yours—perhaps too much so." Zelda was writing furiously; she finished the novel on March 9 and sent it to Scott's publisher, their friend Maxwell Perkins at Scribner's.
In the first The Legend of Zelda, Kondo juxtaposes the game's overworld theme with the theme that plays in dungeons. Kondo remarked on the importance of projecting distinct characters through music, so that the player knows almost immediately where they are within the game.[24] Justin Daniel Sextro, a student at the University of Missouri, wrote that when compared to the overworld theme of The Legend of Zelda, the dungeon theme gives "no pleasure in listening", saying that as the tune is "not lyrical", it ends up sounding "constantly unresolved". He further writes that while there is motion in the music, it was "without direction" in contrast to the "stable surety" of the overworld theme.[25] Kondo used this contrast in other games he worked on, including Super Mario Bros.[26] The "Underwater Theme" from the same game has also been considered a watershed moment for video game music because it was one of the first to established canon of musical tradition.[27]
The Amiibo line for "The Legend of Zelda" initially began solely with the Wolf Link figurine, which is mainly used in "" and later "". It expanded with the 30th Anniversary collection (8-bit Link, "" Link, "" Link, and "The Wind Waker" Zelda), and the "Breath of the Wild" collection (Archer Link, Rider Link, Zelda, Bokoblin, and the Guardian figurine). At E3 2017, Nintendo unveiled several new Amiibo figurines, including wedding-themed Mario, Peach and Bowser figurines which coincided with the launch of the Nintendo Switch game "Super Mario Odyssey", as well as figurines of Chrom and Tiki from the "Fire Emblem" series to tie in with the release of "Fire Emblem Warriors" on Switch and New 3DS systems. Two "Metroid"-themed Amiibo figures released alongside the 3DS remake of "Metroid II", "", and figurines released later based around the four Champions in "The Legend of Zelda: Breath of the Wild". Third-party software developer Bethesda Softworks announced that existing Zelda figurines would be compatible with the Nintendo Switch port of "", allowing players to obtain select Zelda items and clothing for their Dragonborn, including the Master Sword, Hylian Shield and the Champion's Tunic from "Breath of the Wild".
The Legend of Zelda-themed Monopoly board game was released in the United States on September 15, 2014.[220] A Clue board game in the style of The Legend of Zelda series was released in June 2017.[221] A UNO-styled The Legend of Zelda game was announced in February 2018 for release exclusively at GameStop in North America.[222]
Aranza, best known as the singer of "Dime", the theme song to "Mirada de Mujer", sang the opening theme of the series. The song was written and produced by Jorge Avendaño Lührs, who wrote the theme song to 1993's "Corazón Salvaje" starring Edith González. In the opening sequence, the second verse is sung in a higher note.
The music in the game was composed by Toru Minegishi, Manaka Tominaga, ands Asuka Ota. Minegishi wrote the main overworld music and shared the work on field, character and event themes with Tominaga. Series sound composer Koji Kondo contributed the ending theme, while Ota was responsible for some of the music in the multiplayer mode.
The music was composed primarily by Koji Kondo, with three tracks written by Toru Minegishi. The soundtrack largely consists of reworked music from "Ocarina of Time", complemented with other traditional "Zelda" music such as the "Overworld Theme" and new material. Kondo describes the music as having "an exotic Chinese-opera sound". As the three-day cycle progresses, the theme song of Clock Town changes between three variations, one for each day. IGN relates the shift in music to a shift in the game's atmosphere, saying that the quickened tempo of the Clock Town music on the second day conveys a sense of time passing quickly. The soundtrack was released on June 23, 2000, featuring 112 tracks from the game over two compact discs.
Link, using a design based on Skyward Sword, appears as a playable character in Mario Kart 8 via downloadable content, along with a "Hyrule Circuit" racetrack themed on The Legend of Zelda series.[113] The first pack is named after the series. In Sonic Lost World, a DLC stage based on The Legend of Zelda series was released in March 2014, named "The Legend of Zelda Zone". While built around the core gameplay mechanics of Sonic Lost World, "The Legend of Zelda Zone" incorporates some elements from the Zelda series, including a heart-based vitality meter, rupee collection, and a miniature dungeon to explore.[114]
Thirteen pieces of theme music are used: two opening themes and eleven ending themes. The first opening theme song for episodes 1 to 76 is performed by Kazuya Yoshii of The Yellow Monkey. The lyrics were penned by Yukinojo Mori who has written numerous songs for the "Dragon Ball" series. The second opening theme song for episodes 77 to 131 is by Kiyoshi Hikawa. Mori wrote the lyrics for the rock number "Genkai Toppa x Survivor". Takafumi Iwasaki composed the music. The first ending theme song for episodes 1 to 12 is by Japanese rock band Good Morning America. The second ending theme song for episodes 13 to 25 is by Key Talk. The third ending theme song for episodes 26 to 36 is by Lacco Tower. The fourth ending theme song for episodes 37 to 49 is by Czecho No Republic. The fifth ending theme song for episodes 50 to 59 is by idol group Batten Showjo Tai. The sixth ending theme for episodes 60 to 72 is by Arukara. The seventh ending theme song for episodes 73 to 83 is by THE COLLECTORS. The eighth ending theme song for episodes 84 to 96 is "Boogie Back" by Miyu Innoue. The ninth ending theme song for episodes 97 to 108 is "Haruka" by Lacco Tower. The tenth ending theme song for episodes 109 to 121 is "By A 70cm Square Window" by RottenGraffty. The eleventh ending theme song for episodes 122 to 131 is "Lagrima" by OnePixcel.
Painting Zelda Fitzgerald as an artist in her own right, Deborah Pike wrote a biography titled "The Subversive Art of Zelda Fitzgerald" (2017). Pike notes Zelda's creative output as "an important contribution to the history of women's art with new perspectives on women and modernity, plagiarism, creative partnership, and the nature of mental illness," based on literary analysis of Zelda's published and unpublished work as well as her husband's.
The songs he wrote were inspired by his family and friends. A few of the songs explored the themes of love and fulfilment. "Not Just for the Weekend" was a song he wrote after the birth of his second son, Jagger. The song "Beautiful" is a love song written to his wife Eileen. Other songs in the album explored much darker themes. "Blew It All Away" is a heartfelt song about the suicide of a friend, which happened shortly after another friend died from cancer. Another song, "Alone" was inspired from a friend who was struggling after his father's death. "Shine Like the Sun" is about a friend in Ireland who was experiencing a rough relationship.
Reviews of the audio were mixed. Reviewers noted that the sound was hampered by the poor quality of the Game Boy Color's speakers, although it fared favorably compared with other games for the system. The selection of songs was praised for complementing familiar "Zelda" songs and sounds with new music. The "Zelda" theme and the traditional sound effect played upon solving a puzzle were considered welcome additions, but other sound effects were criticized as simplistic "beeps".
Zelda remained in the hospital while Scott returned to Hollywood for a $1,000-a-week job with MGM in June 1937. Without Zelda's knowledge, he began a serious affair with the movie columnist Sheilah Graham. Despite the excitement of the affair, Scott was bitter and burned out. When their daughter Scottie was thrown out of her boarding school in 1938, he blamed Zelda. Though Scottie was subsequently accepted by Vassar College, his resentment of Zelda was stronger than ever before. Of Scott's mindset, Milford wrote, "The vehemence of his rancor toward Zelda was clear. It was she who had ruined him; she who had made him exhaust his talents ... He had been cheated of his dream by Zelda."
"The Legend of Zelda" was directed and designed by Shigeru Miyamoto and Takashi Tezuka (credited as S. Miyahon and Ten Ten respectively in the closing credits). Miyamoto produced the game, and Tezuka wrote the story and script. Keiji Terui, a screenwriter who worked on anime shows such as "Dr. Slump" and "Dragon Ball", wrote the backstory for the manual, drawing inspiration from conflicts in medieval Europe. Development began in 1984, and the game was originally intended to be a launch title for the Famicom Disk System. The development team worked on "The Legend of Zelda" and "Super Mario Bros." concurrently, and tried to separate their ideas: "Super Mario Bros." was to be linear, where the action occurred in a strict sequence, whereas "The Legend of Zelda" would be the opposite. In "Mario", Miyamoto downplayed the importance of the high score in favor of simply completing the game. This concept was carried over to "The Legend of Zelda". Miyamoto was also in charge of deciding which concepts were ""Zelda" ideas" or ""Mario" ideas." Contrasting with "Mario", "Zelda" was made non-linear and forced the players to think about what they should do next. According to Miyamoto, those in Japan were confused and had trouble finding their way through the multi-path dungeons, and in initial game designs, the player would start with the sword already in their inventory. Rather than merely simplifying matters for players, Miyamoto forced the player to listen to the old man who gives his their sword, and encouraged interaction among people to with share their ideas with each other to find the various hidden secrets, a new form of gaming communication. Relatedly, this concept turned into the root of another series to be developed many years in the future: ""Zelda" became the inspiration for something very different: "Animal Crossing". This was a game based solely on communication."
The score to "A Link to the Past" was composed, arranged, and produced by Koji Kondo. The overworld theme of "The Legend of Zelda" ("Hyrule Overture") returns in "A Link to the Past", redone in S-SMP style. The theme is also featured in "Light World Overworld" and in "End Credits". "A Link to the Past" helped to establish the musical core of the "Zelda" series. While the first game originated the "Hyrule Overture", many recurring motifs of the "Zelda" scores come from "A Link to the Past", including "Zelda's Lullaby" (Princess Zelda's Theme), "Ganondorf's Theme", "Hyrule Castle" (Royal Family Theme), "Kakariko Village" and "Select Screen/Fairy Cave". These themes have been used in subsequent "The Legend of Zelda" games. A soundtrack to "Kamigami no Triforce", entitled "The Legend of Zelda: Sound and Drama", was released by Sony Records in Japan on June 22, 1994. The first disc is 44 minutes long and features rearranged versions of a selection of the game's themes, along with a bonus drama track. The second disc features 54 minutes of the original arrangements for the game and those of the original NES game, "The Legend of Zelda".
"The Legend of Zelda Theme" is a recurring piece of music that was created for the first game of the franchise. The composer and sound director of the series, Koji Kondo, initially planned to use Maurice Ravel's Boléro as the game's title theme, but was forced to change it when he learned, late in the game's development cycle, that the copyright for the orchestral piece had not yet expired. As a result, Kondo wrote a new arrangement of the overworld theme within one day.[7] The "Zelda Theme" has topped ScrewAttack's "Top Ten Videogame Themes Ever" list.[8]
The script for cinematic scenes was written by Naoki Mori, who joined the project for one and a quarter years in his role: the cinematic director was Shigeki Yoshida, who was brought on at the same time as and worked on the storyboards with Mori. The initial script was proposed by Fujibayashi based on his perception of the game's structure. As the game's theme was the use of the sword, and the sword most associated with the series was the Master Sword, the team decided to make it an origin story for the weapon. An early element was whether to incorporate the creation of Hyrule, while also needing to explain the creation of Skyloft: this initial stage of story development ended up being difficult as their initial story plans were full of contradictions to established series lore due to them wanting to create an origin story for the entire series. These issues were further complicated by the third year of development with the necessity of finalizing the gameplay and environments. Feigning illness, Fujibayashi shut himself away in a hotel room and wrote the synopsis in a single day. Mori wrote the dialogue based on Fujibayashi's synopsis, who needed to work out the fine details with Fujibayashi. A scene Fujibayashi was intent on including was where Zelda jumped from the edge of Skyloft and Link caught her: this was fitted in for the two characters after the end of Link's exam. The early part of the story was quite different from earlier "Zelda" games, playing out in a similar way to a school drama. Once the script was finished, it was handed to Yoshida so his team could create the cinematics. The total number of cinematics was estimated as 79, coming to over 120 minutes.
Mario & Zelda Big Band Live CD is a recording of a live big band performance of songs based on the "Mario" and "The Legend of Zelda" game series. The performance was at Nihon Seinenkan Hall on September 14, 2003. There were many artists who performed during this concert.
The piece led to Zelda receiving offers from other magazines. In June, a piece by Zelda Fitzgerald, "Eulogy on the Flapper," was published in "Metropolitan Magazine." Though ostensibly a piece about the decline of the flapper lifestyle, Zelda's biographer Nancy Milford wrote that the essay was "a defense of her own code of existence." Zelda described the flapper:
The show's opening theme was written (listed in the end credits as words & music) by Mark Mueller, an ASCAP Award-winning pop music songwriter who also wrote the popular theme song for "DuckTales" and produced by Alf Clausen. The song performed over the title credits is sung by Jeff Pescetto (who also performed the "DuckTales" theme song). A full-length version of the theme song was later recorded by the pop group The Jets.
Composer and bandleader Frank DeVol (who also wrote the series' theme song) played the part of Doc Joslyn in the pilot episode but illness forced him to quit the role, and he was replaced by Leonard Stone for the actual series. DeVol's original theme song was performed by Bobby Darin. Hugo Montenegro provided a new theme song and score to the episodes.
They wrote frequently, and by March 1920, Scott had sent Zelda his mother's ring, and the two had become engaged. Many of Zelda's friends and members of her family were wary of the relationship, as they did not approve of Scott's excessive drinking, and Zelda's Episcopalian family did not like the fact that he was a Catholic.
In common with several songs off "My Generation", a theme of "La-La-La-Lies" is the "illusion of identity." "Rolling Stone" critic Dave Marsh called it "as personal as anything Pete Townshend ever wrote." The lyrics criticize a friend who lies about the singer. This makes the song a little different than other similarly themed Who songs, as in many of the band's songs about lying their complaint is that someone is lying to them; in "La-La-La-Lies" the complaint is that someone is lying about them. Christopher Ketcham sees "La-La-La-Lies" as representing a related theme common to several Who songs: the difficulty of seeing "the other." Ketcham sees this as also being a theme of "Quadrophenia" and songs such as "My Generation" and "Who Are You."
Using the orchestra enabled a greater expression of emotion, which meant that they used it when creating scores for environments, cinematic scenes, and emotional moments within the story. Conversely, the team were given less freedom to adjust tracks as they had been able to with synthesized tracks. Something new they did for "Skyward Sword" was producing unique themes for specific characters such as Link and Zelda. They also added people singing songs, another element new to the series. One notable element was the game's main theme "Ballad of the Goddess", which was actually a reversed version of the recurring tune "Zelda's Lullaby". Due to the use of an orchestra and the sheer amount of extra work going into the sound design, the music team doubled in size from the standard five-person group, and became the largest sound team at the time to have worked on a Nintendo game. The positive reception of the orchestral score within the company led to the creation of " The Legend of Zelda 25th Anniversary Symphony Concert", a celebratory concert featuring orchestrated versions of classic "Zelda" themes. Music was also woven into the story and gameplay through the use of the harp Link receives, using a recurring theme within the series of music being a central part of the experience. In contrast to previous games, the instrument could be played at any time rather than at specific times and places.