- 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 role of gesture in music is well known and it has engendered a deep and varied body of research. For designers of digital musical systems, however, gesture poses a special challenge: how do they create systems that can translate physical forces into the virtual world, and use them in ways that are as rich and intuitive as they are in the physical world, while also taking advantage of the flexibility that the digital medium promises? This chapter explores the design of interactive sound models within the broader context of mechanical and electronic instrument design, proposing the use of a particular form of physical modeling (direct simulation) as an example of an intuitive model for working with physical forces in the virtual world.
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/composition program at the Ohio State University.
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 Ph.D. candidate in computer science at The Ohio State University.
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