Karen Collins is based in the Canadian Centre of Arts and Technology at the University of Waterloo, Canada.

• Introduction, Karen Collins; Part 1 Industries and Synergies: The new MTV? Electronic arts and 'playing' music, Holly Tessler; Marketing music through computer games: the case of Poets of the Fall and Max Payne 2, Antti-Ville Karja.; Part 2 Ringtones and Mobile Phones: Could ringtones be more annoying?, Peter Drescher; Indeterminate adaptive digital audio for games on mobiles, Agnes Guerraz and Jacques Lemordant.; Part 3 Instruments and Interactions: Theoretical approaches to composing dynamic music for games, Jesper Kaae; Realising groundbreaking adaptive music, Tim van Geelen; The composition-instrument: emergence, improvisation, and interaction in games and new media, Norbert Herber.; Part 4 Techniques and Technologies: Dynamic range: subtlety and silence in video game sound, Rob Bridgett; An introduction to granular synthesis in video games, Leonard Paul.; Part 5 Audio and Audience: Chip music: low tech data music sharing, Anders Carlsson; Left in the dark: playing computer games with the sound turned off, Kristine Jorgensen; Music theory in music games, Peter Schultz; Annotated bibliography and resources, Erica Kudisch and Tim van Geelen; Bibliography; Index.

Karen Collins is based in the Canadian Centre of Arts and Technology at the University of Waterloo, Canada.

• Introduction, Karen Collins; Part 1 Industries and Synergies: The new MTV? Electronic arts and 'playing' music, Holly Tessler; Marketing music through computer games: the case of Poets of the Fall and Max Payne 2, Antti-Ville Karja.; Part 2 Ringtones and Mobile Phones: Could ringtones be more annoying?, Peter Drescher; Indeterminate adaptive digital audio for games on mobiles, Agnes Guerraz and Jacques Lemordant.; Part 3 Instruments and Interactions: Theoretical approaches to composing dynamic music for games, Jesper Kaae; Realising groundbreaking adaptive music, Tim van Geelen; The composition-instrument: emergence, improvisation, and interaction in games and new media, Norbert Herber.; Part 4 Techniques and Technologies: Dynamic range: subtlety and silence in video game sound, Rob Bridgett; An introduction to granular synthesis in video games, Leonard Paul.; Part 5 Audio and Audience: Chip music: low tech data music sharing, Anders Carlsson; Left in the dark: playing computer games with the sound turned off, Kristine Jorgensen; Music theory in music games, Peter Schultz; Annotated bibliography and resources, Erica Kudisch and Tim van Geelen; Bibliography; Index.

Karen Collins is based in the Canadian Centre of Arts and Technology at the University of Waterloo, Canada.

• Introduction, Karen Collins; Part 1 Industries and Synergies: The new MTV? Electronic arts and 'playing' music, Holly Tessler; Marketing music through computer games: the case of Poets of the Fall and Max Payne 2, Antti-Ville Karja.; Part 2 Ringtones and Mobile Phones: Could ringtones be more annoying?, Peter Drescher; Indeterminate adaptive digital audio for games on mobiles, Agnes Guerraz and Jacques Lemordant.; Part 3 Instruments and Interactions: Theoretical approaches to composing dynamic music for games, Jesper Kaae; Realising groundbreaking adaptive music, Tim van Geelen; The composition-instrument: emergence, improvisation, and interaction in games and new media, Norbert Herber.; Part 4 Techniques and Technologies: Dynamic range: subtlety and silence in video game sound, Rob Bridgett; An introduction to granular synthesis in video games, Leonard Paul.; Part 5 Audio and Audience: Chip music: low tech data music sharing, Anders Carlsson; Left in the dark: playing computer games with the sound turned off, Kristine Jorgensen; Music theory in music games, Peter Schultz; Annotated bibliography and resources, Erica Kudisch and Tim van Geelen; Bibliography; Index.