Thank you for this feedback, this is a really poignant issue to the theories I have been working with. To help elaborate on what I have been looking into, I will explain that my focus at this point in the research is on non-diegetic implication of music in games. I would love nothing more to cover the diegetic end as well, but my professors won't let me take the paper to that broad of a topical view.
...in any event,
The current view for me then is that of non-diegetic environmental composition, where the composer has needed to make artistic choices in determining what sounds truly bring an environment to life for the player as well as what sounds make an environment seem aesthetically appropriate. I have been looking into elements such as instrumentation and timbre as tied into symbolism and location during gameplay. What this has led to is the analysis of environments across different games... in examples such as 'forest' which, as I have found so far, has a place in at least 60 different games, and as I expect will be found in hundreds more.
Thusss the goal at this moment is to see how these types of compositions impact the players, for in the end, it is the success of these styles of music in these types of games that has helped to preserve their place in the gaming multiverse.
Though it should be said that I am interested in more than just this element, which is why the other questions exist as they do in the survey.