I found a couple of really cool interviews. The first is with Chris Remo, who composed the music for Gone Home as well as a few other big indie titles. The second is with Jessica Curry, who did the music for Dear Esther. They might not be obvious choices for sources, but they’re surprisingly useful. I’m not going to use them, but I think they’d be super helpful elsewhere.
Remo talks quite a bit about the rapport he had with the developers, and how his understanding of their intent affected the musical choices he made. Choice quote:
“But then one of the things I hit on which ended up being the most satisfying part of working on the score for me was starting to map certain instruments – not super strictly – but I started to generally map certain instruments to certain characters. I wanted to initially draw a strong contrast between the scored music and the punk music in the game – especially earlier in the game there’s a lot of ethereal Fender Rhodes, almost in the style of Angelo Badalamenti’s soundtrack from Twin Peaks, and there’s a lot of big, warm soft Wurlitzer, but then as the game goes on (how do I talk about this without spoiling what happens!?) – the sister in the game, the main character – as her story develops, I started to introduce more acoustic guitar because I wanted to introduce more explicitly human elements that. The prominence of the guitar work increases as the game goes on, in proportion to how her story develops – but I don’t want to give away too much!”
— Chris Remo
Interesting that he refers to Sam as the ‘main character’. Curry’s interview is cool too, but a bit more technical. She talks about Ralph Vaughan Williams and William Byrd and the influence of Romantic classical as well as British folk on her compositions.
Here are the links: