- 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
The Dance Central digital game series teaches players full-body choreography routines set to popular club music, offering real-time feedback driven by the Kinect, a motion-sensing camera peripheral that creates a gestural interface for the Xbox 360 game console. Dance Central offers a new channel for the transmission of embodied knowledge and for indexing that knowledge through popular music. Game choreographers translate song into dance; players learn to feel out music with their bodies as choreographers do. Dance Central design, gameplay, and associated player discourse rely on multiple technologies of transduction, which convert sound into forms accessible to other senses. Drawing on analysis of online discourse and interviews with players and game designers, this chapter addresses Dance Central as a staging ground for emergent forms of multisensory musicality, virtual performance, and participatory culture.
Kiri Miller is Associate Professor of Music at Brown University. Her research focuses on interactive digital media, communities of practice, amateur musicianship, and popular music. Miller is the author of Traveling Home: Sacred Harp Singing and American Pluralism (Illinois, 2008) and Playing Along: Digital Games, YouTube, and Virtual Performance (Oxford, 2012). She has published articles in Ethnomusicology, American Music, 19th-Century Music, the Journal of American Folklore, Game Studies, and the Journal of the Society for American Music. Her work has been supported by fellowships from the Radcliffe Institute for Advanced Study and the American Council of Learned Societies.
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