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Contents Notes on the Contributors Introduction: Karen Collins Part One: Industries and Synergies Chapter One: The new MTV? Electronic Arts and ¿playing¿ music: Holly Tessler Chapter Two: Marketing Music Through Computer Games: The Case of Poets of the Fall and Max Payne 2: Antti-Ville Kärjä Part Two: Ringtones and Mobile Phones Chapter Three: Could Ringtones Be More Annoying?: Peter Drescher Chapter Four: Indeterminate Adaptive Digital Audio for Games on Mobiles: Agnès Guerraz and Jacques Lemordant Part Three: Instruments and Interactions Chapter Five: Theoretical approaches to composing dynamic music for games: Jesper Kaae Chapter Six: Realising groundbreaking adaptive music: Tim van Geelen Chapter Seven: The Composition-Instrument: emergence, improvisation, and interaction in games and new media: Norbert Herber Part Four: Techniques and Technologies Chapter Eight: Dynamic Range: Subtlety and Silence in Video Game Sound: Rob Bridgett Chapter Nine: An Introduction to Granular Synthesis in Video Games: Leonard Paul Part Five: Audio and Audience Chapter Ten: Chip Music: Low Tech Data Music Sharing: Anders Carlsson Chapter Eleven: Left in the Dark: Playing Computer Games with the Sound Turned Off: Kristine Jørgensen Chapter Twelve: ¿Music Theory in Music Games¿: Peter Shultz Annotated Bibliography and Resources: Erica Kudisch and Tim van Geelen Bibliography Index
Library of Congress Subject Headings for this publication:
Video game music -- History and criticism.
Popular music -- History and criticism.