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date: 21 April 2019

(p. xvii) List of Contributors

(p. xvii) List of Contributors

Marc Ainger is a sound artist who works in the area of computer and electronic music, often in combination with other media such as film, dance, and theater. His works have been performed throughout the world, including at the American Film Institute, the KlangArts Festival, Gageego New Music Ensemble, Guangdong Modern Dance, the Royal Danish Ballet, Streb, the New Circus, and Late Night with David Letterman. As a sound designer he has worked with IRCAM, the Los Angeles Philharmonic, the Olympic Arts Festival, and Waveframe, among others. He is currently head of the theory and composition program at the Ohio State University.

Anders-Petter Andersson is a sound designer, Ph.D. in Musicology and currently holds a position as Postdoctoral researcher at Kristianstad University in Sweden. Since 1999 he has worked within the group MusicalFieldsForever together with Birgitta Cappelen and Fredrik Olofsson, creating interactive musical Art installations. The group MusicalFieldsForever has since 1999 created interactive art installations that explore new forms of expression and the democratic potential of interactive media, by creating open, audio-tactile Art installations – musical fields. A musical field is open for co-creation on many levels. The group exhibits their installations internationally. Since 2006 they have worked with tangible musical interaction for people with disabilities, in a health context. Currently in the project ( at the Oslo School of Architecture and Design (AHO) in Norway.

David Bessell has been active in the field of popular music for many years. He also studied classical composition and orchestration at the Royal College of Music, London, and jazz guitar with John Etheridge. He holds a Doctorate in Music and currently teaches Music and Music Technology at Plymouth University. He can be found performing on guitar or electronics from time to time in a variety of styles.

M.J. Bishop is inaugural director of the University System of Maryland’s Center for Innovation and Excellence in Learning and Teaching, which was established in 2013 to enhance and promote USM’s position as a national leader in higher education academic innovations. The Center conducts research on best practices, disseminates findings, offers professional development opportunities for institutional faculty and administrators, and supports the 12 public institutions that are part of the system as they continue to expand innovative academic practices. Prior to coming to USM, Dr. Bishop was Associate Professor and Director of the Lehigh University College of Education’s (p. xviii) Teaching, Learning, and Technology Program where, in addition to being responsible for the institution’s graduate programs in teacher education and instructional technology, she also played a leadership role in several campus-wide university initiatives. Author of numerous national and international articles, her research interests include exploring how various instructional media and delivery systems might be designed and used more effectively to improve learning. Dr. Bishop taught courses in instructional design, interface design, and Website and resource development at Lehigh.

Alan F. Blackwell is Reader in Interdisciplinary Design at the University of Cambridge Computer Laboratory. He is an authority on visual representation and notation, especially with regard to the usability of programming languages. He collaborates regularly with music researchers, especially through Cambridge’s Centre for Music and Science, and has a specific research interest in notations for artistic production and performance, working with a wide range of contemporary choreographers and composers. Together with his students and collaborators, he has a long-standing interest in the tools and practices of Live Coding.

Niels Böttcher graduated from Aalborg University in Copenhagen, at the Institute of Architecture, Design and Media Technology. His PhD was on the topic of procedural audio in computer games with a special focus on motion controllers. Niels has an ongoing interest in the relationship between gesture and sound in musical controllers, computer games, and related applications. He has been very active in building DIY music instruments and has been performing all over Europe in various electronic music groups. In 2002 he founded the record label JenkaMusic, which has more than sixteen international releases.

Birgitta Cappelen is an industrial designer, interaction designer and Associate Professor at the Oslo School of Architecture and Design (AHO) in Norway. She has worked within the field of screen based interactive media since 1985, and with Art and research within Tangible Interaction and Smart Textile since 1999 in the group MusicalFieldsForever. The group MusicalFieldsForever has since 1999 created interactive art installations that explore new forms of expression and the democratic potential of interactive media, by creating open, audio-tactile Art installations – musical fields. A musical field is open for co-creation on many levels. The group exhibits their installations internationally. Since 2006 they have worked with tangible musical interaction for people with disabilities, in a health context. Currently in the project ( at the Oslo School of Architecture and Design (AHO) in Norway.

Nick Collins is a composer, performer, and researcher who lectures at the University of Sussex. His research interests include machine listening, interactive and generative music, and musical creativity. He coedited The Cambridge Companion to Electronic Music (Cambridge University Press, 2007) and The SuperCollider Book (MIT Press, 2011), and wrote the Introduction to Computer Music (Wiley, 2009). Sometimes he writes in the third person about himself, but is trying to give it up. Further details, including (p. xix) publications, music, code and more, are available from

Fionnuala Conway is a musician, composer, and multimedia artist. She has been lecturing on the MPhil in Music and Media Technologies course at Trinity College, Dublin, since 2002 and was appointed Course Director in 2006. With a background in music and music technology, she has worked as composer and performer and produced work in a wide variety of forms, from traditional materials to interactive digital media, wearable technology, installations and theatre presentation, including Art of Decision and Urban Chameleon.

Andrew Dolphin is a composer and digital artist currently working as a lecturer in Music, Sound and Performance at Leeds Metropolitan University, UK. He recently completed a PhD at SARC (Sonic Arts Research Centre), Queen’s University in Belfast, Northern Ireland. He completed his MMus at Goldsmiths, University of London, and BA Hons in Sonic Art at Middlesex University. His recent projects have focused upon the exploration and practical application of computer game and physics engine technologies in the creation of creative works in the fields of sound art and music composition. Themes of play, allocation of compositional control to players, user accessibility, and symbolic representations of sound, synthesis, and music control parameters are often key themes in the game engine projects.

Inger Ekman earned her MSc in computer science from the University of Tampere, Finland, in 2003. Since then, she has worked at teaching and researching the experiential aspects of gaming and interactive media at the University of Tampere and Aalto University. Currently, she is pursuing a doctoral degree on game sound. Her research interests combine design practice and UX research with theoretic approaches grounded in psychoacoustics and emotion theory. She has published on game experience in journals such as Gaming and Virtual Worlds, Simulation & Gaming, Computer & Graphics, in books, and in numerous conference proceedings.

Andy Farnell is a computer scientist from the United Kingdom, specializing in audio DSP and synthesis. Pioneer of procedural audio and the author of MIT textbook Designing Sound, Andy is visiting professor at several European institutions and consultant to game and audio technology companies. He is also an enthusiastic advocate and hacker of free open-source software, who believes in educational opportunities and access to enabling tools and knowledge for all.

Mike Frengel holds BA, MA, and PhD degrees in electroacoustic music composition from San Jose State University, Dartmouth College, and City University, London, respectively. He has had the great fortune to study with Jon Appleton, Charles Dodge, Larry Polansky, Denis Smalley, Allen Strange, and Christian Wolff. His works have won international prizes and have been included on the Sonic Circuits VII, ICMC ’95, CDCM vol. 26, 2000 Luigi Russolo and ICMC 2009 compact discs. Mike serves on the faculty of (p. xx) the music departments at Northeastern University and Boston Conservatory, where he teaches courses in music technology and composition.

Melanie Fritsch works as research assistant at the Forschungsinstitut für Musiktheater since October 2008, teaches in the Music Theatre Studies department at the University of Bayreuth, and is also PhD candidate. She studied Performance Studies, Contemporary German Literature and Musicology in Berlin (Freie and Humboldt Universität) and Rome. During this time, she also freelanced for various theater and music theater productions, and has worked at various German and Italian cultural institutions both within Germany and Italy. Currently she is finishing her doctoral dissertation in the research area of video games and music. Her other research focuses are Performance Studies (Music as Performance), Liveness, Virtual Worlds Research, and Theatre and Dance History and Aesthetics. See also:

Tim van Geelen is a Dutch interactive sound specialist, and a teacher at one of Holland’s highest-standing colleges. In 2008, he graduated in adaptive audio for games, and has since employed his specialty in the fields of, among others, serious games, education, and live performance. Apart from a passion for innovative audio, he also plays bass guitar and practices Kundalini yoga. He is always looking for collaboration on and innovation of interactive and adaptive sound. He can be contacted through

Michael Gurevich is Assistant Professor of Performing Arts Technology at the University of Michigan, where he teaches media art, physical computing, and electronic chamber music. Framed through the interdisciplinary lens of Interaction Design, his research explores new aesthetic and interactional possibilities that emerge through performance with real-time computer systems. He holds a PhD in computer music from Stanford, and has worked at the Sonic Arts Research Centre at Queen’s University, Belfast, and Singapore’s Institute for Infocomm Research. He has published in the New Interfaces for Musical Expression, computer music and HCI communities, and served as Music Chair for NIME 2012.

Norbert Herber is a musician and a sound artist. His work explores the relationship between people and sound within mediated environments—spaces created by software, sensors, speakers, and other mediating technologies. This music is more likely to be heard on a personal computer, mobile device, or installation space than on CD or vinyl. Field recordings, live instruments, and electronics are brought together in an ever-changing, generative mix of texture and tone that leverages the processing capabilities of contemporary technology to create music specific to a place and time. Using this approach Norbert is focused on creating sound and music in digital environments for art, entertainment, and communications applications. His works have been performed and exhibited in Europe, Asia, South America, and in the United States.

Jan Paul Herzer studied Audio Engineering at the SAE Hamburg, and Sound Studies—Acoustic Communication at the Berlin University of the Arts. He works as sound (p. xxi) designer, musician and programmer in the spectrum between acoustic scenography, functional sound design, and installation art. He is one founder of Hands on Sound, an artist collective and design agency that specializes in sound design for architectural space and makes extensive use of interactive and generative audio concepts. Jan Paul Herzer currently lives and works in Berlin.

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.

Damian Kastbauer is a freelance technical sound designer working to help bridge the gap between sound designers, composers, and game developers. Utilizing the functionality of game-audio-specific implementation authoring tools, his goal is to create dynamic sound interactions that leverage interactive techniques to make good sound content sound great. In addition to working remotely and onsite helping games make glorious noises, he can be found scribing the Aural Fixations column in Game Developer Magazine and pontificating on sound at

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.

Tom Langhorst is a lecturer in game sound at Fontys University of Applied Sciences, Netherlands. His work and research focusses on the cross over between design, perception and technology (such as game AI). He was educated as musician, music theorist and composer and worked in the game, entertainment and advertisement industry and as interaction designer for product innovation. More recently Tom is also involved in research and development of games for healthcare and he is advisor of the Games4Health Europe conference.

Victor Lazzarini is a Senior Lecturer in Music at the National University of Ireland, Maynooth. His research work includes over 100 articles in the areas of musical signal processing, computer music languages, and audio programming. He is the co-editor of Audio Programming (MIT Press, 2010), which is a key reference volume in Computer Music. Victor is also an active composer of instrumental and electronic music, and one of the developers of Csound.

(p. xxii) Jon Inge Lomeland holds an MA in ethnomusicology and musicology from the University of Bergen, Norway, where he studied music and emotions in the game World of Warcraft. He teaches music in addition to composing music for games.

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 (University of Illinois Press, 2008) and Playing Along: Digital Games, YouTube, and Virtual Performance (Oxford University Press, 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.

Helen Mitchell read music at Edinburgh University, gaining the Fraser Scholarship upon graduation. After completing a diploma from the London Guildhall School of Music and Drama, she spent a further year specializing in solo performance and repertoire at Liverpool University. She studied the flute with Roger Rostrun (Hallé Orchestra), Richard Chester (Royal Scottish National Orchestra) and Colin Chambers (Royal Liverpool Philharmonic Orchestra). In 1992 she was appointed Professor of Flute and Saxophone at the Royal Marines School of Music, Deal, Kent, and in 1998 embarked on further postgraduate studies in music technology at York University. She currently lectures in Creative Music Technology at the University of Hull.

Chris Nash ( is a professional programmer and composer, and currently Senior Lecturer in Music Technology (Software Development for Audio, Sound, and Music) at the University of the West of England (UWE Bristol, UK). He completed his PhD on music HCI at the University of Cambridge, looking at theoretical and analytical methods for modeling and designing interfaces for composition, supported by a longitudinal study of over 1,000 DAW users, empirically investigating user experience with respect to flow, learning, virtuosity, creativity, and liveness. His current research projects focus on digitally-supported amateur musicianship and learning, and end-user programming for music. Around his research, he is the developer of the award-winning reViSiT composition tool, and has written music for TV and radio, including the BBC.

Niels C. Nilsson holds a Master’s degree in Medialogy from AAU Copenhagen and is currently a Ph.D. fellow at Aalborg University Copenhagen under Rolf Nordahl. His Ph.D. does in general terms revolve around an investigation of the factors influencing the perceived naturalness of Walking-In-Place locomotion within technologically immersive virtual reality. Moreover, his research interests include presence research, user experience evaluation and consumer virtual reality systems.

Rolf Nordahl is Associate Professor at Aalborg University Copenhagen. His research lies within VR, (Tele)-Presence, Sonic Interaction Design, audio-haptics, multimodal perception and developing novel methods and evaluation techniques for VR, Presence (p. xxiii) and Games. He is principal investigator for several research and commercial projects including the EU funded project Natural Interactive Walking, and has done seminal work in the EU-project BENOGO. He is member of IEEE and likewise is recognized as an expert for the Danish Evaluation Institute, responsible for national accreditation of educations. He has performed series of invited lectures on his research areas at recognized universities, such as Yale University (Connecticut, US).

Nye Parry is a sound artist, composer, and Research Fellow at CRiSAP, University of the Arts, London. He has made numerous sound installations for museums including the National Maritime Museum, the British Museum, and the Science Museum in London, as well as creating concert works, gallery installations, and over twenty scores for contemporary dance. He has a PhD in electroacoustic composition from City University and teaches at the Guildhall School of Music and Drama and Trinity Laban Conservatoire. Between 2003 and 2011 he ran the MA in Sonic Arts at Middlesex University, where he also did research on locative media.

Natasa Paterson is a Dublin-based composer and performer. Natasa completed her MPhil in Music and Media Technologies at Trinity College, Dublin, and is currently studying for a PhD, exploring composition for location-aware audio applications. Natasa was project manager of the Irish Composers’ Collective, the 2012 Ad Astra Composition Competition winner, and is a Fulbright Scholar. Her compositional work include pieces for choir, piano, string, and brass quartet, and the use of electroacoustic processes with performances at the National Concert Hall, Samuel Beckett Theater, Cake Contemporary Center, and Center for Creative Practices.

Leonard J. Paul has worked in the games industry since 1994 and has a history in composing, sound design and coding for major game titles at companies which include Electronic Arts, Backbone Entertainment and Radical Entertainment. His titles have sold over 9.7 million units and include Need for Speed, NBA Jam and Retro City Rampage. He has over ten years of experience teaching video game audio at institutions such as the Vancouver Film School and the Arts Institute and is the co-founder of the School of Video Game Audio. Leonard has spoken at many industry conferences such as the Game Developers Conference at locations in the USA, Brazil, UK, Canada, Switzerland, Colombia, Germany and other countries worldwide. He is a well-known documentary film composer, having scored the original music for multi-awarding winning documentary The Corporation which remains the highest-grossing Canadian documentary in history to date. His website is:

Dave Raybould is a Senior Lecturer at Leeds Metropolitan University where he teaches game audio, sound design and synthesis. A regular contributor conferences in the field he is also a member of the papers review committee for the Audio Engineering Society ‘Audio for Games’ conferences and co-authored “The Game Audio Tutorial: A Practical Guide to Sound and Music for Interactive Games” (Focal Press).

(p. xxiv) Holly Rogers is Senior Lecturer in Music at the University of Liverpool. Recent fellowships have included a postdoctoral position at University College Dublin, a senior research post at Trinity College Dublin and a Fulbright scholarship at the DocFilm Institute in San Francisco. She has published on a variety of audiovisual topics including music and experimental cinema, visual music, video art-music and composer biopics and is author of Visualising Music: Audiovisual Relationships in Avant-Garde Film and Video Art (Verlag, 2010), Sounding the Gallery: Video and the Rise of Art-Music (OUP, 2013) and editor of Music and Sound in Documentary Film (Routledge, 2014).

Guillaume Roux-Girard is a PhD student in film studies at the University of Montreal. His current research focuses on the sound aesthetics of videogames. His recent publications include entries about sound and the Metal Gear series in the Encyclopedia of Video Games (ABC-Clio Press, 2012), and a chapter about sound in horror videogames in the anthology Game Sound Technology and Player Interaction: Concepts and Developments (IGI Global 2011).

Benjamin Schroeder is a researcher, artist, and engineer living in Brooklyn, New York. Benjamin’s interests span several different time-based media, including animation, sound, and physical interaction. His work investigates the power, promise, and beauty of computational media, asking questions about how computation and interaction extend our creative reach. Benjamin has presented his research work at such venues as SIGGRAPH, SMC, NIME, and the ICMC. Benjamin works as a software engineer at Google and is a PhD candidate in computer science at the Ohio State University.

Stefania Serafin is Professor with special responsibilities in sound for multimodal environments in the Medialogy section at Aalborg University in Copenhagen. She teaches and researches on sound models and sound design for interactive media and multimodal interfaces.

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.

Richard Stevens is a Senior Lecturer and Teacher Fellow at Leeds Metropolitan University, UK, 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 Interactive Audio Special Interest Group (IASIG) 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 coauthored the first practical textbook in the field, The Game Audio Tutorial.

Rafał Zapała is a composer and a faculty member at the Academy of Music in Poznań. He also works at Studio Muzyki Elektroakustycznej Akademii Muzycznej w Poznaniu (SMEAMuz Poznan). He graduated composition (p. xxv) (MA, PhD) and choir conducting (MA); participant of K. Stockhausen Concerts and Courses (Kurten 2008), Acanthes Courses (Metz, 2010 with IRCAM, T. Murail and B. Furrer), and others; founder and head of ARCHE New Music Foundation and many ensembles (contemporary, improvised, electronic music). Zapała does not recognize any boundaries between music acquired through academic education, experience of the counterculture, and collaborating with artists from other fields of art (

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