From Pac-Man to Pop Music / Edition 1

by Karen Collins

Overview

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.

Product Details

ISBN-13:	9780754662112
Publisher:	Taylor & Francis
Publication date:	05/28/2008
Series:	Ashgate Popular and Folk Music Series
Edition description:	New Edition
Pages:	224
Product dimensions:	5.90(w) x 9.10(h) x 0.60(d)

About the Author

Karen Collins is based in the Canadian Centre of Arts and Technology at the University of Waterloo, Canada.

Table of Contents

Contents: Preface; Introduction, Karen Collins; Part 1 Industries and Synergies: The new MTV? Electronic arts and 'playing' music, Holly Tessler; Marketing music through computer games: the case of Poets of the Fall and Max Payne 2, Antti-Ville Kärjä. Part 2 Ringtones and Mobile Phones: Could ringtones be more annoying?, Peter Drescher; Indeterminate adaptive digital audio for games on mobiles, Agnès Guerraz and Jacques Lemordant. Part 3 Instruments and Interactions: Theoretical approaches to composing dynamic music for video games, Jesper Kaae; Realising groundbreaking adaptive music, Tim van Geelen; The composition-instrument: emergence, improvisation, and interaction in games and new media, Norbert Herber. Part 4 Techniques and Technologies: Dynamic range: subtlety and silence in video game sound, Rob Bridgett; An introduction to granular synthesis in video games, Leonard J. Paul. Part 5 Audio and Audience: Chip music: low-tech data music sharing, Anders Carlsson; Left in the dark: playing computer games with the sound turned off, Kristine Jørgensen; Music theory in music games, Peter Schultz; Selected annotated bibliography, Erica Kudisch; Bibliography; Index.