Oxford Handbook of Interactive Audio
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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.
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Produktbeschreibung
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.
Autorenporträt
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.