Music
The Mana series has had several different composers. Final Fantasy Adventure was composed by Kenji Ito; it was his second original score. Ito's music is mainly inspired by images from the game rather than outside influences. The scores for Secret of Mana and Seiken Densetsu 3 were both composed by Hiroki Kikuta. Despite difficulties in dealing with the hardware limitations, Kikuta tried to express, in the music of Secret of Mana, two "contrasting styles", namely himself and the game. This was to create an original score which would be neither pop music nor standard game music. Kikuta worked on the music for the two games mostly by himself, spending nearly 24 hours a day in his office, alternating between composing and editing to create an immersive three-dimensional sound. Kikuta considers the score for Secret of Mana his favorite creation. His compositions for Secret of Mana and Seiken Densetsu 3 were partly inspired by natural landscapes. In 1995, Kikuta released an experimental album of arranged music from the two installments, titled Secret of Mana +, which features one 50-minute long track.
Legend of Mana's score was composed by Yoko Shimomura, and of all her compositions, she considers it the one that best expresses herself. Kenji Ito returned to the series with Sword of Mana. He also composed roughly one third of the Children of Mana soundtrack, while the rest was composed by Masaharu Iwata and Takayuki Aihara. Ito was the main composer for Dawn of Mana, assisted by Tsuyoshi Sekito, Masayoshi Soken, and Junya Nakano, as well as main theme composer Ryuichi Sakamoto. In North America, purchasers of Dawn of Mana from participating retailers were offered a sampler disc, titled Breath of Mana, which features a selection of tracks from the game. Shimomura returned to the series with Heroes of Mana.
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Famous quotes containing the word music:
“The train was crammed, the heat stifling. We feel out of sorts, but do not quite know if we are hungry or drowsy. But when we have fed and slept, life will regain its looks, and the American instruments will make music in the merry cafe described by our friend Lange. And then, sometime later, we die.”
—Vladimir Nabokov (1899–1977)
“La la la, Oh music swims back to me
and I can feel the tune they played
the night they left me
in this private institution on a hill.”
—Anne Sexton (1928–1974)
“During the cattle drives, Texas cowboy music came into national significance. Its practical purpose is well known—it was used primarily to keep the herds quiet at night, for often a ballad sung loudly and continuously enough might prevent a stampede. However, the cowboy also sang because he liked to sing.... In this music of the range and trail is “the grayness of the prairies, the mournful minor note of a Texas norther, and a rhythm that fits the gait of the cowboy’s pony.””
—Administration in the State of Texa, U.S. public relief program (1935-1943)