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| Alten, S. R. (2002). Audio in media. 6th ed. Belmont CA: Wadsworth/Thomson Learning. |
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| Altman, R. (Ed.). (1992). Sound theory sound practice. New York: Routledge. |
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| Altman, R. (1992). Afterword: A baker's dozen terms for sound analysis. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 249–253). New York: Routledge. |
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| Altman, R. (1992). Introduction: Four and a half film fallacies. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 35–45). New York: Routledge. |
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| Altman, R. (1992). The material heterogeneity of recorded sound. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 15–31). New York: Routledge. |
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| Audio Mostly 2007: 2nd Conference on interaction with sound. 2007. Röntgenbau, Ilmenau: Fraunhofer Institute for Digital Media Technology. September 27–28 2007. |
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| Audio mostly 2008: A conference on interaction with sound. 2008. Piteå, Sweden: October 22–23 2008. |
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| Back, M., & Des, D. (1996). Micro-narratives in sound design: Context and caricature in waveform manipulation. Retrieved January 7, 2008, from http://www.icad.org/web ... ICAD96/proc96/back5.htm |
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| Ballas, J. A. (1994). Delivery of information through sound. In G. Kramer (Ed.), Auditory Display: Sonification, Audification, and Auditory Interfaces (pp. 79–94). Reading MA: Addison-Wesley. |
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| Bather, N. (2004). The darkness of Mordor: The sound of evil in The Lord of the Rings. Screen Education, 37, 167–170. |
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| Bech, S., & Francombe, J. (2019). Consumer sound. In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds), The Oxford Handbook of Sound and Imagination Vol. 2, (pp. 321–348). New York: Oxford University Press. |
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| Bernstein, D. (1997). Creating an interactive audio environment. Gamasutra, Retrieved September 6, 2004, from http://www.gamasutra.co ... 971114/bernstein_01.htm |
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| Blaszczak, D. 2007, September 28–29, Practical aspects of audio design for virtual environments. Paper presented at Audio Mostly 2007, Röntgenbau, Ilmenau. |
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| Blattner, M. M., Sumikawa, D. A., & Greenberg, R. M. (1989). Earcons and icons: Their structure and common design principles. Human-computer Interaction, 4, 11–44. |
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| Bovermann, T., Tünnermann, R., & Hermann, T. (2010). Auditory augmentation. International Journal of Ambient Computing and Intelligence, 2(2), 27–42. |
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| Boyd, A. (2003). When worlds collide: Sound and music in films and games. Gamasutra, Retrieved September 6, 2004, from http://www.gamasutra.co ... /20030204/boyd_01.shtml |
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| Bramas, B., Kim, Y.-M., & Kwon, D.-S. 2008, October 14–17, Design of a sound system to increase emotional expression impact in human-robot interaction. Paper presented at International Conference on Control, Automation and Systems, Seoul, Korea. |
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| Brandon, A. (2005). Audio for games: Planning, process, and production. Berkeley: New Riders. |
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| Breinbjerg, M. (2005). The aesthetic experience of sound: Staging of auditory spaces in 3D computer games. Retrieved January 24, 2006, from http://www.aestheticsofplay.org/breinbjerg.php |
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