In “B.A.N.,” the seventh episode of the show’s first season, which has its finale on Tuesday, the only hip-hop heard at all is a few seconds of “Red Opps,” by the bubbling Atlanta rapper 21 Savage, throbbing faintly from a passing car. The following episode, “The Club,” features wall-to-wall background music but sacrifices no attention to detail. In addition to unobvious tracks by Future and Young Thug, two leading lights in Atlanta’s dominant scene, the pitch-perfect nightclub playlist also includes Crime Mob’s “Knuck if You Buck,” a 12-year-old Southern rap staple, and Young Dro’s “We in da City,” a minor single by a mainstream also-ran who still commands legend status in certain pockets of Georgia.

Even with its relative obscurity and unobtrusive placement, the soundtrack of “Atlanta” is crucial to its next-level specificity, regional intimacy and obsession with atmosphere. The expert, bespoke musical curation — there is no recurring theme song, and no composer whose score can serve as a shortcut to emotion — was a major focus for the show’s architects, most of whom share a background that has nothing to do with television. Whereas most shows would leave the song choices to the dedicated music department, on “Atlanta,” everyone was qualified.

Led by Mr. Glover, the show’s star and creator who also raps as Childish Gambino, the creative team responsible for the hyper-accurate local vibe includes multiple other musicians and managers from Mr. Glover’s inner circle, including his brother, Stephen, a writer and rapper. Also part of the mix is the director Hiro Murai, who was at the helm for most of the first season after working primarily on music videos.

“That’s what brought us all together in the first place — music,” said Jamal Olori, an “Atlanta” staff writer and sometime rapper known as Swank. “We all understood that power and knew we could put certain feelings and energies inside these episodes.”