Whalen, Z. (2004). Play along -- an approach to videogame music. Game Studies, 4(1). Retrieved February 20, 2005, from http://www.gamestudies.org/0401/whalen/ |
|
Added by: Mark Grimshaw-Aagaard 06/12/2015, 19:50 |
|
Whittington, W. (2007). Sound, silence and horror. Offscreen, 11(8-9). Retrieved November 20, 2008, from http://www.offscreen.co ... /whittington_forum1.pdf |
|
Last edited by: Mark Grimshaw-Aagaard 20/11/2008, 09:57 |
|
Williams, A. (1992). Historical and theoretical issues in the coming of recorded sound to the cinema. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 126–137). New York: Routledge. |
|
Added by: Mark Grimshaw-Aagaard 26/10/2004, 12:45 |
|
Williams, D., Mears, J., Kirke, A., Miranda, E., Daly, I., & Malik, A., et al. (2016). A perceptual and affective evaluation of an affectively-driven engine for video game soundtracking. ACM Computers in Entertainment, 14(3). |
|
Last edited by: Mark Grimshaw-Aagaard 20/02/2017, 09:18 |
|
Wurtzler, S. (1992). "She sang live, but the microphone was turned off": The live, the recorded and the subject of representation. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 87–103). New York: Routledge. |
|
Last edited by: Mark Grimshaw-Aagaard 03/03/2006, 14:56 |
|