- List of Common Acronyms Found in the <i>Handbook</i>
- List of Software Found in the <i>Handbook</i>
- List of Games Found in the <i>Handbook</i>
- List of Contributors
- About the Companion Website
- Spatial Reconfiguration in Interactive Video Art
- Navigating Sound: Locative and Translocational Approaches to Interactive Audio
- Defining Sound Toys: Play as Composition
- Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies
- Acoustic Scenography and Interactive Audio: Sound Design for Built Environments
- The Unanswered Question of Musical Meaning: A Cross-domain Approach
- How Can Interactive Music be Used in Virtual Worlds Like <i>World of Warcraft</i>?
- Sound and the Videoludic Experience
- Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity
- Worlds of Music: Strategies for Creating Music-based Experiences in Videogames
- Embodied Virtual Acoustic Ecologies of Computer Games
- A Cognitive Approach to the Emotional Function of Game Sound
- The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality
- Sonic Interactions in Multimodal Environments: An Overview
- Musical Interaction for Health Improvement
- Engagement, Immersion and Presence: The Role of Audio Interactivity in Location-aware Sound Design
- Multisensory Musicality in <i>Dance Central</i>
- Interactivity and Liveness in Electroacoustic Concert Music
- Skill in Interactive Digital Music Systems
- Gesture in the Design of Interactive Sound Models
- Virtual Musicians and Machine Learning
- Musical Behavior and Amergence in Technoetic and Media Arts
- Flow of Creative Interaction with Digital Music Notations
- Blurring Boundaries: Trends and Implications in Audio Production Software Developments
- Delivering Interactive Experiences through the Emotional Adaptation of Automatically Composed Music
- A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player?
- Interactive Spectral Processing of Musical Audio
- Let’s Mix it Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games
- Our Interactive Audio Future
- For the Love of Chiptune
- Procedural Audio Theory and Practice
- Live Electronic Preparation: Interactive Timbral Practice
- New Tools for Interactive Audio, and What Good they Do
Abstract and Keywords
This chapter examines the inherent conflict between player autonomy and musical structure within videogames. Ludic music in games is typically congruent with the action and can heighten feelings of mastery by providing emotional rewards for player achievements. However, the confirmations or violations of musical expectancy that are effective in provoking emotional responses in the kind of tonal music typically utilized in games are difficult to achieve within the temporal uncertainty of a game, where the player has the autonomy to act at any time. The chapter examines the changes in attitudes, tools, and production processes that would allow the progression from current dynamic or adaptive approaches, which treat the music system as a passive receiver of instruction, to a more authentically two-way interactive approach where musical structure inputs to the game’s decision-making processes in order to create a more powerful alignment of musical emotion and game events.
Richard Stevens is a Senior Lecturer and Teacher Fellow at Leeds Metropolitan University where he leads the MSc. in Sound and Music for Interactive Games. He is a leading evangelist for game audio education, chairing the Education Working Group of the IASIG (Interactive Audio Special Interest Group) through to the publication of their ‘Game Audio Curriculum Guideline’ Document, and promoting the subject through regular conference talks, panels and workshops. In 2011 he co-authored the first practical textbook in the field, ‘The Game Audio Tutorial’.
Dave Raybould is a Senior Lecturer at Leeds Metropolitan University where he teaches game audio, sound design and synthesis. He has produced a number of presentations at game audio conferences and co-authored 'The Game Audio Tutorial: a practical guide to sound and music for interactive games”.
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