Most of the stuff he says is true, but I think he's being a bit too conciliatory when he says that the melodic themes of today's games are as high a quality and varied as they were back in the day. In my experience, a disproportionate number of games today have opted for either throw away melodies or just enough ambience to get by. Those wouldn't necessarily be bad things if composers would focus on making them a bit more striking and unique. There is a reason a lot of videogames music appreciation concerts include much older music, and it's not just because of nostalgia. It's one of the reasons why I instantly recognize the Tristram theme from Diablo 1 (a game I haven't played in years) and yet cannot recall any specific themes from Diablo 3 which I've only played just 2 months ago. He even mentions Zimmer and Williams, people who have worked with orchestras for years and still produce instantly memorable scores which resonate in the public consciousness. Very few game scores seem to do so anymore.
One other thing I would really like a game to do, and Obsidian to do with project eternity, is also really focus on the Wagnerian idea of motif and development. Give us themes, but themes that are as intimate and multi-faceted as the characters we create and play with. Aptly so, I've been listening to Howard Shore's Lord of the Rings soundtracks like a fiend lately (moreso because the nearly decade long wait for the Hobbit movie(s) is finally nearly over). I and most others familiar with the music that I've talked to would say that Return of the King's score is by far the strongest of the three films, even though it introduces only one really major new theme (Gondor's). To be fair, it's partly by it's position of being the final movie where the most dramatic and poignant events come to pass. But it's also because it's an amalgam of the themes introduced in the first two films and, most importantly, it develops those themes far more than in the previous 2 films. Themes are mixed and intermingled and repeated again and melodic lines are flipped both linearly and harmonically, often in step with the developments on-screen. So much so that I can listen to the soundtrack out of sequence and still tell exactly where I am in the movie judging only by the musical themes at play.