Description

Book Synopsis

Interactive Sound and Music: Beyond Pressing Play provides an accessible exploration into the aesthetics of interactive audio, using examples from video games, experimental music, and participatory theatre and sound installations. Offering a practitionerâs perspective, the book places interactive sound and music within a broader aesthetic context relating to key texts and discussion within musicology and wider art practices. Each chapter takes the reader through a key debate surrounding interactive sound and music, such as:

  • Is it actually interactive and does it actually matter?
  • How do audience expectations change in an interactive space?
  • How do you compose for multiple possibilities?
  • Is interactive sound and music ever finished?
  • Where now for interactive sound and music?

Supported by a series of questions at the end of each chapter that can be used as a focus for seminar or reading group activities, this is an idea

Interactive Sound and Music

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    £34.19

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    RRP £35.99 – you save £1.80 (5%)

    Order before 4pm today for delivery by Wed 10 Jun 2026.

    A Paperback by Lucy Ann Harrison

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      View other formats and editions of Interactive Sound and Music by Lucy Ann Harrison

      Publisher: Taylor & Francis
      Publication Date: 12/23/2024
      ISBN13: 9781032382395, 978-1032382395
      ISBN10: 1032382392

      Description

      Book Synopsis

      Interactive Sound and Music: Beyond Pressing Play provides an accessible exploration into the aesthetics of interactive audio, using examples from video games, experimental music, and participatory theatre and sound installations. Offering a practitionerâs perspective, the book places interactive sound and music within a broader aesthetic context relating to key texts and discussion within musicology and wider art practices. Each chapter takes the reader through a key debate surrounding interactive sound and music, such as:

      • Is it actually interactive and does it actually matter?
      • How do audience expectations change in an interactive space?
      • How do you compose for multiple possibilities?
      • Is interactive sound and music ever finished?
      • Where now for interactive sound and music?

      Supported by a series of questions at the end of each chapter that can be used as a focus for seminar or reading group activities, this is an idea

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