Whalen emphasizes in his article the point that music, whether diegetic or non-diegetic, plays a powerful role in expanding “the concept of the game world.”  I found it very interesting that he used the game The Legend of Zelda: Ocarina of Time, because for me personally, it was one of the primary reasons I took up studying music as a child.  When I learned to read music, I quickly used my skills to learn how to play the various themes from the Zelda series, many of which are used in game to “magically” transport the player around the expansive game world.  I still have some of them memorized, and when my suite mates and I replayed Ocarina of Time last year, they were surprised that I still remembered the various traveling songs that are integral to the game.

In other words, the music in the Zelda series created a kind of connection to the game and the fantasy world that encompasses it.  Every time Link learns a new song in the game, it is deeply connected with the location to which it corresponds.  Hence, the “Bolero of Fire“ and the “Serenade of Water“ musically portray the locations, the volcano and the lake respectively, to which they take the player.  The “Bolero of Fire” is an upbeat march with a chorus of drums in the background and the “Serenade of Water” is a simple, gentle melody.  Playing those songs outside of the game, for me, was a nostalgic experience that evoked memories of playing the game.  Therefore, music, at least in the Zelda series, is a salient force in connecting with the game environment.