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.

Digital interactive audio is the future of audio in media - most notably video games, but also web pages, theme parks, museums, art installations and theatrical events. Despite its importance to contemporary multi-media, this is the first book that provides a framework for understanding the history, issues and theories surrounding interactive audio. Karen Collins presents the work of academics, composers and sound programmers to introduce the topic from a variety of angles in order to provide a supplementary text for music and multimedia courses. The contributors cover practical and theoretical approaches, including historical perspectives, emerging theories, socio-cultural approaches to fandom, reception theory and case study analyses. The book offers a fresh perspective on media music, one that will complement film studies, but which will show the necessity of a unique approach when considering games music.

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Digital interactive audio is the future of audio in media - most notably video games, but also web pages, theme parks, museums, art installations and theatrical events. Despite its importance to contemporary multi-media, this is the first book that provides a framework for understanding the history, issues and theories surrounding interactive audio. Karen Collins presents the work of academics, composers and sound programmers to introduce the topic from a variety of angles in order to provide a supplementary text for music and multimedia courses. The contributors cover practical and theoretical approaches, including historical perspectives, emerging theories, socio-cultural approaches to fandom, reception theory and case study analyses. The book offers a fresh perspective on media music, one that will complement film studies, but which will show the necessity of a unique approach when considering games music.

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.

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An examination of the many complex aspects of game audio, from the perspectives of both sound design and music composition. A distinguishing feature of video games is their interactivity, and sound plays an important role in this: a player's actions can trigger dialogue, sound effects, ambient sound, and music. And yet game sound has been neglected in the growing literature on game studies. This book fills that gap, introducing readers to the many complex aspects of game audio, from its development in early games to theoretical discussions of immersion and realism. In Game Sound, Karen Collins draws on a range of sources-including composers, sound designers, voice-over actors and other industry professionals, Internet articles, fan sites, industry conferences, magazines, patent documents, and, of course, the games themselves-to offer a broad overview of the history, theory, and production practice of video game audio. Game Sound has two underlying themes: how and why games are different from or similar to film or other linear audiovisual media; and technology and the constraints it has placed on the production of game audio. Collins focuses first on the historical development of game audio, from penny arcades through the rise of home games and the recent rapid developments in the industry. She then examines the production process for a contemporary game at a large game company, discussing the roles of composers, sound designers, voice talent, and audio programmers; considers the growing presence of licensed intellectual property (particularly popular music and films) in games; and explores the function of audio in games in theoretical terms. Finally, she discusses the difficulties posed by nonlinearity and interactivity for the composer of game music.