Enhanced descriptions from Syndetics:

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.

Table of contents provided by Syndetics

• Preface
• Introduction
• Part 1 Industries and Synergies
• The new MTV? Electronic arts and 'playing' music
• Marketing music through computer games: the case of Poets of the Fall and Max Payne 2
• Part 2 Ringtones and Mobile Phones
• Could ringtones be more annoying?
• Indeterminate adaptive digital audio for games on mobiles
• Part 3 Instruments and Interactions
• Theoretical approaches to composing dynamic music for video games
• Realising groundbreaking adaptive music
• The composition-instrument: emergence, improvisation, and interaction in games and new media
• Part 4 Techniques and Technologies
• Dynamic range: subtlety and silence in video game sound
• An introduction to granular synthesis in video games
• Part 5 Audio and Audience
• Chip music: low-tech data music sharing
• Left in the dark: playing computer games with the sound turned off
• Music theory in music games
• Selected annotated bibliography
• Bibliography
• Index

Excerpt provided by Syndetics