What does it mean to interact with sound? How does interactivity alter our experience as creators and listeners? What does the future hold for interactive musical and sonic experiences? This book answers these questions with newly-commissioned chapters that explore the full range of interactive audio in games, performance, design, and practice.
"Music has been a vital part of leisure activity across time and cultures. Contemporary commodification, commercialization, and consumerism, however, have created a chasm between conceptualizations of music making and numerous realities in our world. From a broad range of perspectives and approaches, this handbook explores avocational involvement with music as an integral part of the human condition. The chapters in The Oxford Handbook of Music Making and Leisure present myriad ways for reconsidering and refocusing attention back on the rich, exciting, and emotionally charged ways in which people of all ages make time for making music. The contexts discussed are broadly Western, including an eclectic variety of voices from scholars across fields and disciplines, framing complex and multifaceted phenomena that may be helpfully, enlighteningly, and perhaps provocatively framed as music making and leisure. This volume may be viewed as an attempt to reclaim music making and leisure as a serious concern for, amongst others, policy makers, scholars, and educators who perhaps risk eliding some or even most of the ways in which music - a vital part of human existence - is integrated into the everyday lives of people. As such, this handbook looks beyond the obvious, asking readers to consider anew, "What might we see when we think of music making as leisure?""--publisher's website
Situations matter. They let people express their personalities and values; provoke motivations, emotions, and behaviors; and are the contexts in which people reason and act. The psychological assessment of situations is a new and rapidly developing area of research, particularly within the fields of personality and social psychology. This volume compiles state-of-the-art knowledge on psychological situations in chapters written by experts in their respective research areas. Bringing together historical reviews, theoretical pieces, methodological descriptions, and empirical applications, this volume is the definitive, go-to source for a psychology of situations.
The Oxford Handbook of Sound and Image in Digital Media surveys the contemporary landscape of audiovisual media. Contributors to the volume look not only to changes brought by digital innovations, but to the complex social and technological past that informs, and is transformed by, new media. This collection is conceived as a series of dialogues and inquiries by leading scholars from both image- and sound-based disciplines. Chapters explore the history and the future of moving-image media across a range of formats including blockbuster films, video games, music videos, social media, digital visualization technologies, experimental film, documentaries, video art, pornography, immersive theater, and electronic music. Sound, music, and noise emerge within these studies as integral forces within shifting networks of representation. The essays in this collection span a range of disciplinary approaches (film studies, musicology, philosophy, cultural studies, the digital humanities) and subjects of study (Iranian documentaries, the Twilight franchise, military combat footage, and Lady Gaga videos). Thematic sections and direct exchanges among authors facilitate further engagement with the debates invoked by the text.
The Routledge Companion to Screen Music and Sound provides a detailed and comprehensive overview of screen music and sound studies, addressing the ways in which music and sound interact with forms of narrative media such as television, videogames, and film. The inclusive framework of "screen music and sound" allows readers to explore the intersections and connections between various types of media and music and sound, reflecting the current state of scholarship and the future of the field. A diverse range of international scholars have contributed an impressive set of forty-six chapters that move from foundational knowledge to cutting edge topics that highlight new key areas. The companion is thematically organized into five cohesive areas of study: Issues in the Study of Screen Music and Sound—discusses the essential topics of the discipline Historical Approaches—examines periods of historical change or transition Production and Process—focuses on issues of collaboration, institutional politics, and the impact of technology and industrial practices Cultural and Aesthetic Perspectives—contextualizes an aesthetic approach within a wider framework of cultural knowledge Analyses and Methodologies—explores potential methodologies for interrogating screen music and sound Covering a wide range of topic areas drawn from musicology, sound studies, and media studies, The Routledge Companion to Screen Music and Sound provides researchers and students with an effective overview of music’s role in narrative media, as well as new methodological and aesthetic insights.
The goal of this book is to crystallize the emerging mobile computing technologies and trends by focusing on the most promising solutions in services computing. The book will provide clear proof that mobile technologies are playing an increasingly important and critical role in supporting toy computing. The goal of this book is to bring together academics and practitioners to describe the use and synergy between the above-mentioned technologies. This book is intended for researchers and students working in computer science and engineering, as well as toy industry technology providers, having particular interests in mobile services.
Understanding Game Scoring explores the unique collaboration between gameplay and composition that defines musical scoring for video games. Using an array of case studies reaching back into the canon of classic video games, this book illuminates the musical flexibility, user interactivity and sound programming that make game scoring so different from traditional modes of composition. Mack Enns explores the collaboration between game scorers and players to produce the final score for a game, through case studies of the Nintendo Entertainment System sound hardware configuration, and game scores, including the canonic scores for Super Mario Bros. (1985) and The Legend of Zelda (1986). This book is recommended reading for students and researchers interested in the composition and production of video game scores, as well as those interested in ludo-musicology.
This book provides new theoretical approaches to the subject of virtuality. All chapters reflect the importance of extending the analysis of the concept of “the virtual” to areas of knowledge that, until today, have not been fully included in its philosophical foundations. The respective chapters share new insights on art, media, psychic systems and technology, while also presenting new ways of articulating the concept of the virtual with regard to the main premises of Western thought. Given its thematic scope, this book is intended not only for a philosophical audience, but also for all scientists who have turned to the humanities in search of answers to their questions.
This handbook provides a cross-section of the most field-defining topics and debates in the field of computer music today. From music cognition to pedagogy, it situates computer music in the broad context of its creation and performance across the full range of issues that crop up in discourse in the field.
This handbook provides powerful ways to understand changes in the current media landscape. Media forms and genres are proliferating as never before, from movies, computer games and iPods to video games and wireless phones.
This book explores the nature and importance of sound in virtual reality (VR). Approaching the subject from a holistic perspective, the book delivers an emergent framework of VR sound. This framework brings together numerous elements that collectively determine the nature of sound in VR; from various aspects of VR technology, to the physiological and psychological complexities of the user, to the wider technological, historical and sociocultural issues. Garner asks, amongst other things: what is the meaning of sound? How have fictional visions of VR shaped our expectations for present technology? How can VR sound hope to evoke the desired responses for such an infinitely heterogeneous user base? This book if for those with an interest in sound and VR, who wish to learn more about the great complexities of the subject and discover the contemporary issues from which future VR will surely advance.
This handbook examines film and new media in the light of their convergence. It draws on leading scholars in the field to discuss traditional areas of history and theory of film and digital media. Its focus, however, is on the cycle of technologically driven arts. Film was born of a number ofexperiments in reproducing motion, all of which culminated in the nineteenth-century projection of short films. The creation of digital media resulted from experiments in alternative forms of representation in the early 1960s. John Whitney began creating avant-garde films from digital graphicsaround 1960 (and some of his ideas and methods were incorporated by Stanley Kubrick in 2001: A Space Odyssey). By the early 1990s, commercial filmmakers began to employ digital effects in their work. By the late nineties, digital arts had come fully into their own, both in the form of stand-alone orinteractive artworks and films created with and for the computer. At the same time, digital effects had completely overtaken optical printing and matte painting in film. From special effects to creating "realistic" backgrounds and crowds, the digital is infiltrating all aspects of filmmaking. Theinfiltration is about to become a takeover, as celluloid is replaced by high definition digital recording and projection processes. Many aspects of film will change as this latest convergence takes place. Already, cultural response to film has changed as viewers begin to teach themselves about filmthrough supplementary material on DVDs and to make their own films on home computers. But this handbook is not a technical history or manual. Quite the contrary, it is a scholarly work discussing the aesthetics, economics, and cultural results of these changes and convergences. The book balancestraditional scholarship and analysis with essays addressing technological change and the concurrent changes in cultural responses to these changes, responses already acknowledged by the profession.