We use cookies to enhance your experience on our website. By continuing to use our website, you are agreeing to our use of cookies. You can change your cookie settings at any time. Find out more
masthead
 

Table of Contents

Introduction: Karen Collins, Holly Tessler, and Bill Kapralos

SECTION 1: INTERACTIVE SOUND IN PRACTICE

1. Spatial Reconfiguration in Interactive Video Art: Holly Rogers

2. Navigating Sound: Locative and Translocational Approaches to Interactive Audio: Nye Parry

3. Defining Sound Toys: Play as Composition: Andrew Dolphin

4. Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies: M. J. Bishop

5. Acoustic Scenography and Interactive Audio: Sound Design for Built Environments: Jan Paul Herzer

SECTION 2: VIDEOGAMES AND VIRTUAL WORLDS

6. The Unanswered Question of Musical Meaning: A Cross-domain Approach: Thomas Langhorst

7. How Can Interactive Music Be Used in Virtual Worlds like World of Warcraft?: Jon Inge Lomeland

8. Sound and the Videoludic Experience: Guillaume Roux-Girard

9. Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity: Richard Stevens and Dave Raybould

10. Worlds of Music: Strategies for Creating Music-based Experiences in Videogames: Melanie Fritsch

SECTION 3: THE PSYCHOLOGY AND EMOTIONAL IMPACT OF INTERACTIVE AUDIO

11. Embodied Virtual Acoustic Ecologies of Computer Games: Mark Grimshaw and Tom Garner

12. A Cognitive Approach to the Emotional Function of Game Sound: Inger Ekman

13. The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality: Rolf Nordahl and Niels C. Nilsson

14. Sonic Interactions in Multimodal Environments: An Overview: Stefania Serafin

15. Musical Interaction for Health Improvement: Anders-Petter Andersson and Brigitta Cappelen

16. Engagement, Immersion and Presence: The role of Audio Interactivity in Location-aware Sound Design: Natasa Paterson and Fionnuala Conway

SECTION 4: PERFORMANCE AND INTERACTIVE INSTRUMENTS

17. Multisensory Musicality in Dance Central: Kiri Miller

18. Interactivity and Liveness in Electroacoustic Concert Music: Mike Frengel

19. Skill in Interactive Digital Music Systems: Michael Gurevich

20. Gesture in Design of Interactive Sound Models: Marc Ainger and Benjamin Schroeder

21. Virtual Musicians and Machine Learning: Nick Collins

22. Musical Behavior and Amergence in Technoetic and Media Arts: Norbert Herber

SECTION 5: TOOLS AND TECHNIQUES

23. Flow of Creative Interaction with Digital Music Notations: Chris Nash and Alan F. Blackwell

24. Blurring Boundaries: Trends and Implications in Audio Production Software Developments: David Bessell

25. Delivering Interactive Experiences through the Emotional Adaptation of Automatically Composed Music: Maia Hoeberechts, Jeff Shantz, and Michael Katchabaw

26. A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player?: Niels Böttcher and Stefania Serafin

27. Interactive Spectral Processing of Musical Audio: Victor Lazzarini

SECTION 6: THE PRACTITIONER'S POINT OF VIEW

28. Let's Mix It Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games: Helen Mitchell

29. Our Interactive Audio Future: Damian Kastbauer

30. For the Love of Chiptune: Leonard J. Paul

31. Procedural Audio Theory and Practice: Andy Farnell

32. Live Electronic Preparation: Interactive Timbral Practice: Rafał Zapała

33. New Tools for Interactive Audio, and What Good they Do: Tim van Geelen

Legal Notice | Privacy Policy | Cookie Policy
Please send comments or suggestions about this Website to custserv.us@oup.com        
cover