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From Pac-Man to Pop Music:. ISBN 978-0-7546-6200-6 and 978-0-7546-6211-2
Edited by Karen Collins
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