Abstract
This chapter explores the evolution of musical gender representation in the 33-year Final Fantasy series. From the series' genesis, musical character themes were linked with musical tropes of conventional femininity borrowed from opera and film music. With a few notable exceptions, conventional archetypes of musical femininity and masculinity persisted in Final Fantasy IV–X, composed by Nobuo Uematsu. Prominent musical traits encoding conventional femininity include the use of flute and harp, lyrical melody, arpeggiated accompaniment, major mode, and periodic phrasing. However, as the series incorporated other compositional voices in Final Fantasy XII, XIII, and XV, Hitoshi Sakimoto, Masashi Hamauzu, and Yoko Shimomura adopted more subversive approaches to the previously-established musical gender norms.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
