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.... be run through thema (reich 2004, 305) stands in contrast to Cagea#39;s assertion in 1958, in relation to the Sonatas and ... as it appears in boulez and Cage (1993, 39) (with the left ofthe diagram labeled aMinda and the right labeled ahearta) ... The materials may be sound files or notes and sounds generated by synthesis engines ofvarious types, the methods may simply be triggering and cross-fading files or.
|Title||:||The Oxford Handbook of Interactive Audio|
|Author||:||Karen Collins, Bill Kapralos, Holly Tessler|
|Publisher||:||Oxford University Press, USA - 2014|