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  • Produktbild: The Oxford Handbook of Interactive Audio
  • Produktbild: The Oxford Handbook of Interactive Audio

The Oxford Handbook of Interactive Audio

Aus der Reihe Oxford Handbooks

85,99 €

inkl. gesetzl. MwSt., Versandkostenfrei


Beschreibung

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

01.03.2017

Abbildungen

64 illustrations, 6 b&w half tones

Herausgeber

Collins Karen + weitere

Verlag

Oxford University Press

Seitenzahl

626

Maße (L/B/H)

24,4/17/3,3 cm

Gewicht

1064 g

Sprache

Englisch

ISBN

978-0-19-065105-3

Beschreibung

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

01.03.2017

Abbildungen

64 illustrations, 6 b&w half tones

Herausgeber

Verlag

Oxford University Press

Seitenzahl

626

Maße (L/B/H)

24,4/17/3,3 cm

Gewicht

1064 g

Sprache

Englisch

ISBN

978-0-19-065105-3

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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  • Produktbild: The Oxford Handbook of Interactive Audio
  • Produktbild: The Oxford Handbook of Interactive Audio
    • 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 Böttcher 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)