Nier’s Genres: A Better Look

(This is in progress.)

Last post I mentioned Nier’s genres. This time I want to actually define what I mean by each genre, as I’ll use these to group Nier’s songs together. Each song is unique— but there are a lot of them, and as we’re looking at historical music influences for these genres, it’s important to define these musical periods and elements.

These genres are referring to my nicknames for them: these nicknames refer to elements from certain periods or certain types of music. Songs from Gestalt/Replicant are bolded, and songs I will be analyzing in depth or as pairs are underlined.

The Genres:

Choral/neoclassical: This genre is inspired by the artistic time periods of the Middle Ages to the Romantic Era, roughly 1500-1900. These songs from Nier imitate classical songs and classical choral works, and often include elements like more emphasis on vocals/more a capella, and backing instrumentals like piano and the organ.

Nier songs in the neoclassical genre include Snow in Summer, Shadowlord, A Beautiful Song, Bipolar Nightmare, Mourning, The Ultimate Weapon, The Dark Colossus Destroys All, and The Dark Kaiju.

Non-western: These songs feature elements which are not typically found in Western music and have more of a “tribal” sound, for lack of a better term. These songs are more percussive, they may sound like they are from other countries, and often make use of unique rhythms that are not simple, but theorically complex.

Songs in the non western genre include the Nier songs The incomplete Stone, Blu-Bird, Birth of a Wish (all versions), The Lost Forest, Temple of Drifting Sands, and Forest Kingdom.

Folksy: These songs feature elements typically ascribed to folk music, non-Western or otherwise. They may be more laid back and likely only contain a single instrumental backing. These include Pascal, Emil’s Shop, and Treasured Times.

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