Manzo and Kuhn provide readers with all the practical skills and insights necessary to compose and perform electronic music in a variety of popular styles. Even those with little experience with digital audio software will learn to design powerful systems that facilitate their own compositional ideas.

Interactive music refers to a composition or improvisation in which software interprets live performances to produce music generated or modified by computers. In Composing Interactive Music, Todd Winkler presents both the technical and aesthetic possibilities of this increasingly popular area of computer music. His own numerous compositions have been the laboratory for the research and development that resulted in this book. The author's examples use a graphical programming language called Max. Each example in the text is accompanied by a picture of how it appears on the computer screen. The same examples are included as software on the accompanying CD-ROM, playable on a Macintosh computer with a MIDI keyboard. Although the book is aimed at those interested in writing music and software using Max, the casual reader can learn the basic concepts of interactive composition by just reading the text, without running any software. The book concludes with a discussion of recent multimedia work incorporating projected images and video playback with sound for concert performances and art installations.

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 practitioner’s 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 ideal textbook for students on audio engineering, music technology, and game audio courses, as well as an essential guide for anyone interested in interactive sound and music.

Challenging current music making approaches which have traditionally relied on the repetition of fixed forms when played, this book provides a new framework for musicians, composers, and producers wanting to explore working with music that can be represented by data and transformed by interactive technologies. Beginning with an exploration into how current interactive technologies, including VR and AR, are affecting music, the book goes on to create an accessible compositional model which articulates the emerging field of ‘transmutable music.’ It then shows how to compose and produce transmutable music for platforms like video games, apps and interactive works, employing tutorials which use a range of inputs from sensors, data, and compositional approaches. The book also offers technical exercises on how to transform data into usable forms (including machine learning techniques) for mapping musical parameters, and discussion points to support learning. This book is a valuable resource for industry professionals wanting to gain an insight into cutting edge new practice, as well as for assisting musicians, composers, and producers with professional development. It is also suitable for students and researchers in the fields of music/audio composition and music/audio production, computer game design, and interactive media.

This book offers a semantic and metasemantic inquiry into the representation of meaning in linguistic interaction. Kasia Jaszczolt's view represents the most radical stance on meaning to be found in the contextualist tradition and thereby the most radical take on the semantics/pragmatics boundary. It allows for the selection of the cognitively plausible object of enquiry without being constrained by such distinctions as what is said/what is implicated or what is linguistic and what is extralinguistic. She argues that this is the only promising stance on meaning. The analysis transcends the traditional distinctions drawn, and traditional questions posed, in post-Gricean pragmatics and philosophy of language. It heavily relies on the dynamic construction of meaning in discourse, using truth conditions as a tool but at the same time conforming to pragmatic compositionality ? whereby aspects of meaning that enter this composition have very different provenance. Meaning in Linguistic Interaction builds on the author's earlier work on Default Semantics and adds new arguments in favour of radical contextualism as well as novel applications, focusing on the role of salience, the flexibility of word meaning, the literal/nonliteral distinction, and the dynamic nature of a character, as well as offering an entirely new perspective on the indexical/nonindexical distinction. It contains a state-of-the-art discussion of the semantics/pragmatics boundary disputes, focusing on varieties of semantic minimalism and contextualism and on the limitations of an indexicalism. Jaszczolt's work is illustrated with examples from a variety of languages and offers some formal representations of meaning in the metalanguage of Default Semantics.

This book offers a semantic and metasemantic inquiry into the representation of meaning in linguistic interaction. Kasia Jaszczolt's view represents the most radical stance on meaning to be found in the contextualist tradition and thereby the most radical take on the semantics/pragmatics boundary. It allows for the selection of the cognitively plausible object of enquiry without being constrained by such distinctions as what is said/what is implicated or what is linguistic and what is extralinguistic. She argues that this is the only promising stance on meaning. The analysis transcends the traditional distinctions drawn, and traditional questions posed, in post-Gricean pragmatics and philosophy of language. It heavily relies on the dynamic construction of meaning in discourse, using truth conditions as a tool but at the same time conforming to pragmatic compositionality ? whereby aspects of meaning that enter this composition have very different provenance. Meaning in Linguistic Interaction builds on the author's earlier work on Default Semantics and adds new arguments in favour of radical contextualism as well as novel applications, focusing on the role of salience, the flexibility of word meaning, the literal/nonliteral distinction, and the dynamic nature of a character, as well as offering an entirely new perspective on the indexical/nonindexical distinction. It contains a state-of-the-art discussion of the semantics/pragmatics boundary disputes, focusing on varieties of semantic minimalism and contextualism and on the limitations of an indexicalism. Jaszczolt's work is illustrated with examples from a variety of languages and offers some formal representations of meaning in the metalanguage of Default Semantics.

The rapid growth in online and virtual learning opportunities has created culturally diverse classes and corporate training sessions. Instruction for these learning opportunities must adjust to meet participant needs. Online Course Management: Concepts, Methodologies, Tools, and Applications is a comprehensive reference source for the latest scholarly material on the trends, techniques, and management of online and distance-learning environments and examines the benefits and challenges of these developments. Highlighting a range of pertinent topics, such as blended learning, social presence, and educational online games, this multi-volume book is ideally designed for administrators, developers, instructors, staff, technical support, and students actively involved in teaching in online learning environments.