- 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
For an application to deliver a rich and fully interactive experience to its users, all of its various facets must be malleable and able to reshape to the expectations, desires, and needs of the user. Music is no exception to this. It plays a key role in creating ambience and establishing mood, conveying emotions and evoking responses from the user in a number of interactive applications, such as videogames, for example. Music that is static and fixed, however, fails in properly and completely supporting interactivity in such applications. To remedy this situation, this chapter discusses an approach to algorithmic music composition in which music is adapted, tuned, and evolved emotionally in response to user interactivity. The chapter thus delves into both theoretical and practical aspects of interactive music and music adaptation to provide more immersive and engaging experiences to users of modern interactive applications.
Maia Hoeberechts served as project manager on the AMEE research project at the University of Western Ontario with the goal of developing an emotionally adaptive computer music composition engine. Dr. Hoeberechts worked in many different capacities at Western including as a lecturer, lab manager, and research associate prior to her assuming a new position in the NEPTUNE Canada science team based at the University of Victoria, where she currently serves as Research Theme Integrator for Engineering and Computational Research.
Jeff Shantz is a PhD candidate in the Department of Computer Science at the University of Western Ontario. While his doctoral research involves the study of graph algorithms, he has served a valuable role as research associate for the AMEE research project at Western, involved in both the development of the core engines and the Pop Tones game.
Michael Katchabaw is an Associate Professor in the Department of Computer Science at the University of Western Ontario. His research focuses on various issues in game development and virtual worlds, with dozens of publications and numerous funded projects in the area, supported by various government and industry partners. At Western, Dr. Katchabaw played a key role in establishing its program in game development as one of the first in Canada, as well as the Digital Recreation, Entertainment, Art, and Media (DREAM) research group.
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