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El. knyga: Oxford Handbook of Interactive Audio [Oxford Handbooks Online E-books]

Edited by (Canada Research Chair in Interactive Audio, Canadian Centre of Arts and Technology, University of Waterloo, Waterloo, Canada), Edited by , Edited by (Assistant Professor, Game Development and Entrepreneurship, University of Ontario Institute of Technology.,)
  • Formatas: 624 pages, 64 illustrations, 6 b&w half tones
  • Serija: Oxford Handbooks
  • Išleidimo metai: 29-May-2014
  • Leidėjas: Oxford University Press Inc
  • ISBN-13: 9780199983872
  • Oxford Handbooks Online E-books
  • Kaina nežinoma
  • Formatas: 624 pages, 64 illustrations, 6 b&w half tones
  • Serija: Oxford Handbooks
  • Išleidimo metai: 29-May-2014
  • Leidėjas: Oxford University Press Inc
  • ISBN-13: 9780199983872
As audiences are increasingly no longer solely listeners but also active producer-consumers, and as video games and other interactive systems increasingly permeate our daily lives, understanding interactivity and its impact on the audience has never been more important. A collection of newly commissioned chapters on interactivity in music and sound edited by preeminent scholars in the field, this book marks the beginning of a journey into understanding the ways in which we interact with sound, and offers a new set of analytical tools for the growing field of interactive audio.

What does it mean to interact with sound? How does interactivity alter our experience as creators and listeners? What makes interactive audio different from non-interactive audio? Where does interacting with audio fit into our understanding of sound and music? What does the future hold for interactive media when it comes to our musical and sonic experiences? And how do we begin to approach interactive audio from a theoretical perspective?The Oxford Handbook of Interactive Audio answers these questions by exploring the full range of interactive audio in video games, performance, education, environmental design, toys, and artistic practice. Examining these questions from a range of approaches -- technological, emotional, psychological, and physical -- the book provides a thorough overview of the fascinating experience of interactive sound.
List of Common Acronyms Found in the Handbook
ix
List of Software Found in the Handbook
xi
List of Games Found in the Handbook
xiii
List of Contributors
xvii
About the Companion Website xxvii
Introduction 1(1)
Karen Collins
Holly Tessler
Bill Kapralos
SECTION 1 INTERACTIVE SOUND IN PRACTICE
1(1)
1 Spatial Reconfiguration in Interactive Video Art
15(16)
Holly Rogers
2 Navigating Sound: Locative and Translocational Approaches to Interactive Audio
31(14)
Nye Parry
3 Defining Sound Toys: Play as Composition
45(17)
Andrew Dolphin
4 Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies
62(19)
M. J. Bishop
5 Acoustic Scenography and Interactive Audio: Sound Design for Built Environments
81
Jan Paul Herzer
SECTION 2 VIDEOGAMES AND VIRTUAL WORLDS
2(1)
6 The Unanswered Question of Musical Meaning: A Cross-domain Approach
95(22)
Tom Langhorst
7 How Can Interactive Music Be Used in Virtual Worlds like World of Warcrafft
117(14)
Jon Inge Lomeland
8 Sound and the Videoludic Experience
131(16)
Guillaume Roux-Girard
9 Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity
147(20)
Richard Stevens
Dave Raybould
10 Worlds of Music: Strategies for Creating Music-based Experiences in Videogames
167
Melanie Fritsch
SECTION 3 THE PSYCHOLOGY AND EMOTIONAL IMPACT OF INTERACTIVE AUDIO
3(1)
11 Embodied Virtual Acoustic Ecologies of Computer Games
181(15)
Mark Grimshaw
Tom Garner
12 A Cognitive Approach to the Emotional Function of Game Sound
196(17)
Inger Ekman
13 The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality
213(21)
Rolf Nordahl
Niels C. Nilsson
14 Sonic Interactions in Multimodal Environments: An Overview
234(13)
Stefania Serafin
15 Musical Interaction for Health Improvement
247(16)
Anders-Petter Andersson
Birgitta Cappelen
16 Engagement, Immersion and Presence: The role of Audio Interactivity in Location-aware Sound Design
263
Natasa Paterson
Fionnuala Conway
SECTION 4 PERFORMANCE AND INTERACTIVE INSTRUMENTS
4(1)
17 Multisensory Musicality in Dance Central
283(16)
Kiri Miller
18 Interactivity and Liveness in Electroacoustic Concert Music
299(16)
Mike Frengel
19 Skill in Interactive Digital Music Systems
315(18)
Michael Gurevich
20 Gesture in the Design of Interactive Sound Models
333(17)
Marc Ainger
Benjamin Schroeder
21 Virtual Musicians and Machine Learning
350(14)
Nick Collins
22 Musical Behavior and Amergence in Technoetic and Media Arts
364
Norbert Herber
SECTION 5 TOOLS AND TECHNIQUES
5(1)
23 Flow of Creative Interaction with Digital Music Notations
387(18)
Chris Nash
Alan F. Blackwell
24 Blurring Boundaries: Trends and Implications in Audio Production Software Developments
405(14)
David Bessell
25 Delivering Interactive Experiences through the Emotional Adaptation of Automatically Composed Music
419(24)
Maia Hoeberechts
Jeff Shantz
Michael Katchabaw
26 A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player?
443(14)
Niels Bottcher
Stefania Serafin
27 Interactive Spectral Processing of Musical Audio
457
Victor Lazzarini
SECTION 6 THE PRACTITIONER'S POINT OF VIEW
6(565)
28 Let's Mix it Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games
479(19)
Helen Mitchell
29 Our Interactive Audio Future
498(9)
Damian Kastbauer
30 For the Love of Chiptune
507(24)
Leonard J. Paul
31 Procedural Audio Theory and Practice
531(10)
Andy Farnell
32 Live Electronic Preparation: Interactive Timbral Practice
541(16)
Rafal Zapala
33 New Tools for Interactive Audio, and What Good they Do
557(14)
Tim van Geelen
Index 571
Karen Collins is Canada Research Chair in Interactive Audio in the Canadian Centre of Arts and Technology, University of Waterloo. She is the author of Game Sound (MIT Press 2008), which won the International Association for the Study of Popular Musics biennial book award in 2009, and the editor of From Pac-Man to Pop Music (Ashgate 2008).

Bill Kapralos is an Assistant Professor in the Game Development and Entrepreneurship Program at the University of Ontario Institute of Technology.

Holly Tessler is an Assistant Professor in the Music Industries program at Northeastern University. She is the co-editor of Sounds of the Overground (University of Turku, 2010) and has published widely on music and game industry issues.