As audiences are increasingly no longer solely listeners but also active producer-consumers, and as video games and other interactive systems increasingly permeate our daily lives, understanding interactivity and its impact on the audience has never been more important. A collection of newly commissioned chapters on interactivity in music and sound edited by preeminent scholars in the field, this book marks the beginning of a journey into understanding the ways in which we interact with sound, and offers a new set of analytical tools for the growing field of interactive audio.

What does it mean to interact with sound? How does interactivity alter our experience as creators and listeners? What makes interactive audio different from non-interactive audio? Where does interacting with audio fit into our understanding of sound and music? What does the future hold for interactive media when it comes to our musical and sonic experiences? And how do we begin to approach interactive audio from a theoretical perspective? The Oxford Handbook of Interactive Audio answers these questions by exploring the full range of interactive audio in video games, performance, education, environmental design, toys, and artistic practice. Examining these questions from a range of approaches -- technological, emotional, psychological, and physical -- the book provides a thorough overview of the fascinating experience of interactive sound.

Karen Collins is Canada Research Chair in Interactive Audio at the Games Insitute, University of Waterloo. She is the author of Game Sound (2008) and Playing With Sound (2013), and the editor of From Pac-Man to Pop Music (2008).

Bill Kapralos is an Associate Professor in the Game Development and Entrepreneurship Program at the University of Ontario Institute of Technology. His research interests include real-time acoustical modeling and 3D (spatial) sound generation for virtual environments, multi-modal interactions, serious games, and the perception of auditory events.

Holly Tessler is a Senior Lecturer in Commercial Music in the School of Creative and Cultural Industries at the University of West Scotland. Areas of research interest include the Beatles as industry, music and cultural branding, music industries as cultural industries, interactive audio and music and popular culture.