The Witcher series is given as an example of how understanding video game music as a cultural artifact involves:

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In examining the idea of video game music as a cultural artifact, we must assess what each option implies about how such music operates within culture.
Option 1 suggests studying its use of traditional Polish folk melodies. While folk influences can be part of a game's sonic palette, focusing narrowly on folk melodies does not address the broader way game music functions as a cultural artifact across various media and genres.
Option 2 proposes analyzing its complex harmonic structures. This is a legitimate musicological task, but it centers on technical musical properties rather than the role of the music in cultural conversations, communities, or cross-media storytelling that define a cultural artifact.
Option 3 mentions appreciating the technical skill of the performers. This emphasizes performative virtuosity more than the symbolic, social, and intercultural roles of game music within broader culture, which is essential when discussing artifacts.
Option 4 states recognizing its connections to fantasy novels, comic books, and film adaptations. This framing situates game music within a network of related media and genres, illustrating how it participates in shared fictional universes, transmedia storytelling, and fan communities—core aspects of understanding it as a cultural artifact.
Overall, the first three options address music in isolation or from a purely technical angle, whereas the fourth option foregrounds the cross-media and cultural-context dimensions that define video game music as a cultural artifact.

MUSC1001.35563.202530 Final Exam

The Witcher series is given as an example of how understanding video game music as a cultural artifact involves:

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