The Oxford Handbook of Interactive Audio (Oxford Handbooks)

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. Introduction -- Karen Collins, Holly Tessler and Bill Kapralos -- Section 1. Interactive sound in practice: Spatial reconfiguration in interactive video art -- Holly Rogers ; Navigating sound : locative and translocational approaches to interactive audio -- Nye Parry ; Defining sound toys : play as composition -- Andrew Dolphin ; Thinking more dynamically about using sound to enhance learning from instructional technologies -- M.J. Bishop ; Acoustic scenography and interactive audio : sound design for built environments -- Jan Paul Herzer -- Section 2. Videogames and virtual worlds: The unanswered question of musical meaning : a cross-domain approach -- Tom Langhorst ; How can interactive music be used in virtual worlds like World of Warcraft? -- Jon Inge Lomeland ; Sound and the videoludic experience -- Guillaume Roux-Girard ; Designing a game for music : integrated design approaches for ludic music and interactivity -- Richard Stevens and Dave Raybould ; Worlds of music : strategies for creating music-based experiences in videogames -- Melanie Fritsch -- Section 3. The psychology and emotional impact of interactive audio: Embodied virtual acoustic ecologies of computer games -- Mark Grimshaw and Tom Garner ; A cognitive approach to the emotional function of game sound -- Inger Ekman ; The sound of being there : presence and interactive audio in immersive virtual reality -- Rolf Nordahl and Niels C. Nilsson ; Sonic interactions in multimodal environments : an overview -- Stefania Serafin ; Musical interaction for health improvement -- Anders-Petter Andersson and Birgitta Cappelen ; 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: Multisensory musicality in Dance Central -- Kiri Miller ; Interactivity and liveness in electroacoustic concert music -- Mike Frengel ; Skill in interactive digital music systems -- Michael Gurevich ; Gesture in the design of interactive sound models -- Marc Ainger and Benjamin Schroeder ; Virtual musicians and machine learning -- Nick Collins ; Musical behavior and amergence in technoetic and media arts -- Norbert Herber -- Section 5. Tools and techniques: Flow of creative interaction with digital music notations -- Chris Nash and Alan F. Blackwell ; Blurring boundaries, trends and implications in audio production software developments -- David Bessell ; Delivering interactive experiences through the emotional adaptation of automatically composed music -- Maia Hoeberechts, Jeff Shantz, and Michael Katchabaw ; A review of interactive sound in computer games : can sound affect the motoric behavior of a player? -- Niels Böttcher and Stefania Serafin ; Interactive spectral processing of musical audio -- Victor Lazzarini -- Section 6. The practitioner's point of view: Let's mix it up : interviews exploring the practical and technical challenges of interactive mixing in games -- Helen Mitchell ; Our interactive audio future -- Damian Kastbauer ; For the love of Chiptune -- Leonard J. Paul ; Procedural audio theory and practice -- Andy Farnell ; Live electronic preparation : interactive timbral practice -- Rafal Zapala ; New tools for interactive audio, and what good they do -- Tim van Geelen. 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