Yeah, for sure. I’m pretty sure you could reshuffle the Sim City scores randomly without affecting the gameplay or feelings you have while playing in a major way, though (I haven’t played the latest one, but certainly in the earlier games). Likewise I don’t think it matters all that much which early 2000s rapcore knockoff is playing when you’re driving in a racing game. You may like one song or composition over another, so you might enjoy certain music more while playing, but its function in the game is the same.
On the opposite end there are soundtracks like Shovel Knight where each level and each boss has very distinct music specifically composed for it, and the music is at least as prominent as the art (if not moreso) in setting the tone and identity of the levels and characters in the game.
In musical sciences there’s this long-running ridiculous fight going on between Program music, written to capture something concrete like a story, a mood, a place or whatever, and Absolute/Abstract music which is supposedly “pure” music for music’s sake with no direct connection to anything tangible.
Video game scores (and film scores) are arguably always program music to some extent, given that they are chosen or composed to support the rest of the experience *. Even so, there are definitely differences in the role the music plays in the scores, how prominent it is and how much space it takes in the storytelling. Giving characters and places their own leitmotif is an example of a very established way to use music to build or amplify moods and characters, often subconciously for the audience. Playing the Skywalker theme over a scene with no relation to Luke in Star Wars would feel weird to a lot of people for example, even if the tone of the music might fit what happens on screen. Even with licenced music there are examples like Pulp Fiction where switching out songs would seriously change the emotion and sometimes the meaning of the scenes.
*Does absolute music become program music when set in the context of a movie or a game, if you set lyrics to it, or give it a descriptive title? That’s the sort of silliness that’s still seriously debated in classical music academia. Composer David Bruce has made a very good video where he discusses program vs abstract music with plenty of good examples if you’re into this sort of thing.