In this thesis the dynamic music tracks of the digital game The Witcher 3: Wild Hunt were analyzed using Daniel Stern's theory of vitality affects. Analysis was limited to a certain big zone in the game that is important to the game's main plot, and to two different gaming situations, with which I divided the musics in to "regular situations" and "fighting situations". As the units of analysis I used different musical terms that are used to portray articulations, dynamics and speed in music, as well as different types of musical transitions that are used in digital games. Analysis was done primarily by playing the game and by listening to its music. With the units of analysis I interpreted the vitality affects of the music, which are portrayed by dynamic, kinetic and movement-based terms. With these terms the different elements of music could be equated to different modes of living and bodily functions. With these it can be explained, why the music raises emotions, and why different game situations have the kind of music that they have, and why they fit to them so well. Some strong interpretations between the music of regular- and fighting situations could be made: these two situations seem to use musical expressions that are the opposite extremes, such as long notes – short notes, fast tempo – slow tempo. The musical emotional meanings, appropriate for different game events, seem to form only when many types of musical expressions, which can all be connected to one particular vitality affect, are used simultaneously in a music track.