Build Something You Believe In

The Music of Sid Meier's Civilization

Every time I hear the delicate introduction of the Sogno di Volare (the Dreams of Flight), I am in awe at the majestic brilliance of this moment. And then, the music really starts. I remember the first time I heard the soundtrack, that surge of violins, the low, grounding hum of the bass. It was like discovering an ancient artifact that told a story I’d always known but never heard. This isn’t just dreams, it is history, condensed into music and lyrics, a call to action, a gentle reminder of what we build and what we leave behind.

There is something about the soundtrack of Sid Meier's Civilization that stirs something deep within me. Why do these compositions evoke both the triumphs and the perils of empire-building, as if they’ve always been there, just waiting to be rediscovered?

The 1990s, were a decade of technological optimism, floppy disks, and the birth of the iconic Civilization series. Sid Meier, the mastermind behind it all, was no stranger to experimentation. With Civilization, he offered players not just a computer game but a blank slate to rewrite the narrative of human progress. Meier’s genius wasn’t merely in the game’s mechanics, it was in creating an experience that felt complete. That’s where the music comes in, a score that is as integral to the series as is the complex decision-making systems like technology upgrades and negotiating alliances.

The Maestro’s Vision

Music in Civilization isn’t just background noise, it’s storytelling. Early iterations leaned heavily on MIDI, an era’s technical constraint, yet even then, the compositions managed to evoke grandeur. By the time Christopher Tin’s “Baba Yetu” hit the scene with Civilization IV, winning the first-ever Grammy for a video game track, the series had set a gold standard. It wasn’t just a song, it was a call to reflect on what it means to be human.

Tin’s work exemplifies the series’ ethos, respect for the complexity of history and the cultures that shape it. His compositions are a masterclass in blending the vocal power of traditional choirs with the nuanced instrumentation of strings and percussion. Each layer, from the rising cadence of a choir to the subtle interplay of orchestral elements, adds depth, reminding us that history isn’t a monolith but a collection of voices, harmonizing and clashing in equal measure. In “Baba Yetu,” a Swahili rendition of the Lord’s Prayer, we hear echoes of faith, perseverance, and universality. It’s as if the composition is reminding us, while you’re charting your empire’s course, pause to absorb the echoes of humanity that surround you, the whispers of cultures, the harmonies of history, and the voices of those who came before. Don’t forget to listen.

Musical Multiverses

From there, each iteration’s soundtrack expanded its ambitions, with composers like Geoff Knorr and Michael Curran playing pivotal roles in crafting intricate musical landscapes. Knorr’s work often combines orchestral grandeur with subtle regional influences, creating a bridge between eras and cultures. Curran, on the other hand, brings a unique texture to the series, layering his compositions with both sweeping and intimate moments that mirror the player’s journey through time. Curran and Knorr’s collaboration on the Brave New World Theme is majestical. These contributions, alongside Hans Zimmer and Christopher Tin, enrich the musical evolution of Civilization, ensuring every iteration resonates deeply with players. Hans Zimmer’s contributions added cinematic gravitas to Civilization, while other composers crafted intricate motifs that mirrored specific cultures. As an example the Incas, with their upbeat pan flutes that seem to dance across the soundscape, evoking the bustling marketplaces and vibrant ceremonies of a thriving civilization. The rhythmic undercurrents add a sense of steady determination, mirroring the ingenuity and resilience required to build an empire in the challenging terrains of the Andes. Together, these elements create a musical portrait that doesn’t just accompany the gameplay but invites players to feel the essence of Inca culture. Or the Norse, whose compositions suggest icy resilience. Each track is more than an aesthetic choice, it’s a deliberate immersion into a world with its own logic and beauty.

The Civilization soundtrack does what few can. It captures the zeitgeist of historical epochs while weaving them into a shared narrative of discovery and ambition. These aren’t just songs, they are philosophical frameworks. How do you measure progress? Who’s defining the tempo of history, you or the forces of chaos?

Today’s Ambitions

The world feels, in many ways, like a Civilization game gone awry, climate challenges, geopolitical shifts, the ever-looming specter of technological singularity. Yet, there’s something reassuring in this music. When you listen to Tin’s compositions or Zimmer’s cinematic flourishes, you’re reminded of humanity’s resilience, its ability to build, adapt, and thrive.

Could we orchestrate progress with the same intentionality as these composers brought to their scores? The music in Civilization doesn’t just accompany gameplay, it challenges us. Each track, with its layered harmonies and cultural motifs, asks players to think beyond conquest and strategy. For instance, as the haunting melodies of "Ancient Ruins" play, are we merely exploiting the remnants of the past, or honoring them? When the triumphant strains of "Baba Yetu" soar, are we building a future worthy of such hope? These compositions subtly remind us that every decision in the game, as in life, carries weight, inviting us to confront the ethical and philosophical dilemmas of leadership, progress, and legacy. Could we build something worth building, worth believing in?

A Legacy That Endures

The true power of the Civilization soundtrack lies not just in its technical brilliance or its emotional resonance, but in how it subverts traditional historical narratives. Instead of framing history as a linear progression of dominant powers, the music celebrates the interplay of diverse cultures and voices. Through its melodies, it offers a unique lens into cultural storytelling, blending influences to reflect both harmony and discord. This isn’t just inspiration, it’s a call to rethink how we perceive progress and heritage. Its legacy is less about gaming and more about aspiration. How do you score the rise and fall of empires? How do you give melody to innovation, war, and peace? These are questions that composers like Tin and Zimmer answered with resounding clarity. And they’re questions we, too, must answer, not with music, but with action.

As the final track plays, as your personal empire stands or falls, the music reminds you, this is more than a game. It’s a meditation on what it means to build, to create, and to hope. The rest is up to you.

Stay curious

Colin

Listening pleasure

A magnificent Symphony Orchestra & Choir. Orchestrated by Hyunjung Byun, Hyunmin Michael Kang, Sangjun Lee, Jieun Ok, Da Eun Park, Doa Pyeon Live at the National Theater of Korea

Baba Yetu with the Royal Philharmonic Orchestra

Watch Christopher Tin conduct Civilization VI

Setlist

00:00 Sogno di Volare

04:44 Kongo

10:30 Greece

16:02 Arabia

21:55 Rome

25:25 Ottoman

30:00 England

35:07 Spain

41:46 France

47:38 Norway

52:37 Russia

58:28 Aztec

1:02:12 America

1:10:01 Brazil

1:14:33 Australia

1:19:55 India

1:24:24 Scythia

1:30:00 Japan

1:36:09 China

1:40:40 Korea