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Informationen zum Autor 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. Klappentext What does it mean to interact with sound? How does interactivity alter our experience as creators and listeners? What does the future hold for interactive musical and sonic experiences? This book answers these questions with newly-commissioned chapters that explore the full range of interactive audio in games, performance, design, and practice. Zusammenfassung What does it mean to interact with sound? How does interactivity alter our experience as creators and listeners? What does the future hold for interactive musical and sonic experiences? This book answers these questions with newly-commissioned chapters that explore the full range of interactive audio in games, performance, design, and practice. Inhaltsverzeichnis Introduction (Karen Collins, Holly Tessler and Bill Kapralos) List of Acronyms Commonly Found in the Handbook List of Software Found in the Handbook List of Games Found in the Handbook List of Contributors Section 1: Interactive Sound in Practice Chapter 1 Spatial Reconfiguration in Interactive Video Art (Holly Rogers) Chapter 2 Navigating Sound: Locative and Translocational Approaches to Interactive Audio (Nye Parry) Chapter 3 Defining Sound Toys: Play as Composition (Andrew Dolphin) Chapter 4 Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies (M.J. Bishop) Chapter 5 Acoustic Scenography and Interactive Audio: Sound Design for Built Environments (Jan Paul Herzer ) Section 2: Videogames and Virtual Worlds Chapter 6 The Unanswered Question of Musical Meaning: A Cross-Domain Approach (Tom Langhorst) Chapter 7 How can Interactive Music be Used in Virtual Worlds like World of Warcraft? (Jon Inge Lomeland) Chapter 8 Sound and the Videoludic Experience (Guillaume Roux-Girard) Chapter 9 Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity. (Richard Stevens and Dave Raybould) Chapter 10 Worlds of music: Strategies for creating music-based experiences in videogames (Melanie Fritsch) Section 3: The Psychology and Emotional Impact of Interactive Audio Chapter 11 Embodied Virtual Acoustic Ecologies of Computer Games (Mark Grimshaw and Tom Garner) Chapter 12 A Cognitive Approach to the Emotional Function of Game Sound (Inger Ekman) Chapter 13 The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality (Rolf Nordahl and Niels C. Nilsson) Chapter 14 Sonic interactions in multimodal environments: An overview (Stefania Serafin) Chapter 15 Musical Interaction for Health Improvement (Anders-Petter Andersson and Birgitta Cappelen) Chapter 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 Chapter 17 Multisensory Musicality in Dance Central (Kiri Miller) Chapter 18 Interactivity and Liveness in Electroacoustic Concert Music (Mike Frengel) Chapter 19 Skill in Interactive Digital Music Systems (Michael Gurevich) Chapter 20 Gesture in the Design of Interactive Sound Models (Marc Ainger and ...
