From the simple beeps of early arcade games to orchestral masterpieces performed in concert halls: video game music has undergone an astonishing evolution.
The path was by no means straightforward, as the music always had to adapt to the technical framework. In the early days of video games, music was essentially programmed code: composers such as Koji Kondo or Rob Hubbard wrote their pieces not in notes, but in machine language. They used early sound chips, which could only output basic waveforms (or noise!), and worked under extreme memory constraints. Yet, with very limited resources, they created iconic melodies that still still evoke the unmistakable "game sound" and perhaps represent the true, unique sound of gaming.
Over time, technical advancements allowed for greater possibilities: In the late 1980s, digital samples found their way onto home computers such as the Commodore 64 and, above all, the Amiga and Atari ST. Allowing composers to use sampled instruments, which did not yet sound like a band or orchestra, but much more like “real" music. In the mid-1990s, the triumph of the CD-ROM made it possible to reproduce pre-recorded music faithfully, which led to a leap in quality. The creative process now more closely resembled that of film or TV composition: instead of programmed bleeps, composers could work with real instruments, orchestras, and choirs.
Today, game studios work with international composers, symphony orchestras and high-end production teams. Music is no longer an accessory - it is a central element of the gaming experience, just like in film - except that the music in games needs to be adaptive, i.e. it changes based on the players actions. If the hero enters a battle, the music shifts; if they're sneaking, escaping, or exploring a cave, it must sound different than when sailing a ship. Like film scores, game music underscores mood and action - but in games, these moments change fluidly, requiring the music to respond in real time. This is achieved through adaptive music systems, using short, loopable segments stitched together dynamically until a new major cue takes over.
Here are five soundtracks that illustrate these developments impressively:
1. Super Mario Bros (1985)
- the birth of the gaming earworm
With just four channels for music on the NES, Koji Kondo created one of the world's most recognisable pieces of music in 1985: the main theme from Super Mario Bros. The melody was not only catchy, but perfectly suited to the gameplay - rhythmic, fast-paced, playful.
Kondo's work was an early prime example of functional game music: it wasn’t just there to entertain, it had to fit in perfectly with the pace of the game - and still exude character and charm with the limited resources of the NES sound chip.
2. The Legend of Zelda: Ocarina of Time (1998)
- music as a tool
13 years later, Koji Kondo once again changed the perception of music in games. In Ocarina of Time, music became an active part of the gameplay: players learned short melodies on the in-game ocarina to affect the world - changing the weather, time of day, or teleporting to new locations.
This marked a major shift: music was no longer just reactive, but interactive. Players had to understand and use music themselves - a unique integration that continues to influence game design today.
3. Monkey Island II: LeChuck's Revenge (1991)
- the art of smooth transitions
While most games simply played one track after another, Monkey Island II broke new technical ground with the iMUSE system from LucasArts. Composer Michael Land developed an adaptive music engine that allowed the music to react seamlessly to the player's actions.
As the player moves from one scene to the next, the music modulates seamlessly from one theme to another, note by note - similar to the way a skilled film composer orchestrates transitions. The result was a dynamic, responsive musical experience that was far ahead of its time - and is still considered pioneering work today.
4. Halo: Combat Evolved (2001)
- the step into the cinema age
With Halo, the games industry finally ventured into cinematic storytelling - also musically. The soundtrack composed by Martin O'Donnell combined Gregorian chant, electronic elements and orchestral action music.
The title track with its epic choir became the anthem of an entire generation of gamers. Halo showed that game music could rival Hollywood blockbusters in scope and production, paving the way for the modern blockbuster game soundtrack.
5 The Last of Us (2013)
- when less is more
At a time when many games relied on bombastic soundtracks, The Last of Us chose a different path: Gustavo Santaolalla, two-time Oscar winner, composed a minimalist, almost fragile soundtrack.
With a few plucked notes on the guitar, he created an intimate, almost meditative soundscape that perfectly matched the game's melancholic post-apocalyptic mood. Music became a silent narrator here - restrained but powerful. A milestone in emotional game music.
And today? Yu-Peng Chen and the global stage of game music
The journey does not end here - on the contrary, it is only just gaining momentum.
An outstanding example of recent years is games and film composer (and arranger) Yu-Peng Chen, whose soundtrack to Genshin Impact impresses not only with its orchestral scope, but also with its musical sophistication. Chen's works have garnered billions of streams and enjoy global acclaim.
Another example of the leap from film to game is Hildur Guðnadóttir, who won an Oscar for Joker (2019) and later composed the soundtrack for Battlefield 2042, earning the Society of Composers & Lyricists Award. She is now celebrated in both worlds.
From the 8-bit chip to the concert hall - the history of video game music is one of constraint and creativity. What began as simple tones has developed into a fully-fledged art form - first programmed, later composed - always in the service of technology, but driven by the desire to be more than background noise. Today, game music is an integral part of storytelling - and has long been an experience in its own right, independent of the game itself. Whether in soundtrack albums, live concerts or classical editions: The music of games has found its place - right in the centre of the present.
Further links:
Stay Forever Podcast: Monkey Island II - informative podcast with a good explanation of the iMuse system
Stay Forever Podcast: The Music of Gothic - interesting explanations by composer Kai Rosenkranz on the adaptive music of Gothic role-playing games
Sound of Life: Evolution of Game Music - English-language blog post with many audio examples
BR Klassik: From Pong to Final Symphony - short explanatory text on game music on the occasion of an orchestral performance of game music -
The author: Gunnar Lott, games journalist with a long career. Former editor-in-chief of magazines such as GameStar, GamePro and Making Games, today podcaster at the retrogames podcast Stay Forever.
