Oxford Handbook of Interactive Audio (Hardcover)

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 Benjamin Schroeder); Chapter 21 Virtual Musicians and Machine Learning (Nick Collins); Chapter 22 Musical Behavior and Amergence in Technoetic and Media Arts (Norbert Herber); Section 5 Tools and Techniques; Chapter 23 Flow of Creative Interaction with Digital Music Notations (Chris Nash and Alan F. Blackwell); Chapter 24 Blurring Boundaries, Trends and Implications in Audio Production Software Developments. (David Bessell); Chapter 25 Delivering Interactive Experiences Through the Emotional Adaptation of Automatically Composed Music (Maia Hoeberechts, Jeff Shantz, and Michael Katchabaw); Chapter 26 A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player? (Niels Bottcher and Stefania Serafin); Chapter 27 Interactive Spectral Processing of Musical Audio (Victor Lazzarini); Section 6 The Practitioner's Point of View; Chapter 28 Let's Mix it up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games (Helen Mitchell); Chapter 29 Our Interactive Audio Future (Damian Kastbauer); Chapter 30 For the Love of Chiptune (Leonard J. Paul); Chapter 31 Procedural Audio Theory and Practice (Andy Farnell); Chapter 32 Live Electronic Preparation: Interactive Timbral Practice (Rafal Zapala); Chapter 33 New Tools for Interactive Audio, and What Good they Do. (Tim van Geelen)