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<p>This article offers a close reading of the soundtrack of the open world videogame, <i>Hogwarts Legacy</i> (2023). It addresses the soundtrack at three scales. First, it shows how the game’s music orients the player relative to the world of Western music and to what might be called a Western soundscape. Second, it analyses how the game’s music positions the player in relation to the <i>Harry Potter</i> franchise, including by reference to music from the <i>Harry Potter</i> films. Third, it explores how the game’s music situates the player within the gameworld itself, including via musical topics and leitmotifs. Through this analysis, this article explores opportunities beyond dominant approaches to music in geography, especially recent non-representational approaches, which have generally avoided engaging with the actual content of music and/or have considered only a selection of musical types. Further aims of this article, following recent calls in human geography, are to contribute to the development of phonographic methods and to expanding research on new digital media.</p>

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The magic of music? Ludomusical narrativity, transmedia, and the musical geographies of Hogwarts legacy

  • 期刊论文

  • 出版模式：

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  • 发表日期：

    2025年6月17日

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  • Philip Kirby

摘要

This article offers a close reading of the soundtrack of the open world videogame, Hogwarts Legacy (2023). It addresses the soundtrack at three scales. First, it shows how the game’s music orients the player relative to the world of Western music and to what might be called a Western soundscape. Second, it analyses how the game’s music positions the player in relation to the Harry Potter franchise, including by reference to music from the Harry Potter films. Third, it explores how the game’s music situates the player within the gameworld itself, including via musical topics and leitmotifs. Through this analysis, this article explores opportunities beyond dominant approaches to music in geography, especially recent non-representational approaches, which have generally avoided engaging with the actual content of music and/or have considered only a selection of musical types. Further aims of this article, following recent calls in human geography, are to contribute to the development of phonographic methods and to expanding research on new digital media.