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| Altman, R. (1992). General introduction: Cinema as event. In R. Altman (Ed), Sound Theory Sound Practice (pp. 1–14). 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). Introduction: Sound/history. In R. Altman (Ed), Sound Theory Sound Practice (pp. 113–125). New York: Routledge. |
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| Altman, R. (1992). Introduction: Sound's dark corners. In R. Altman (Ed), Sound Theory Sound Practice (pp. 171–177). New York: Routledge. |
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| Altman, R. (1992). Sound space. In R. Altman (Ed), Sound Theory Sound Practice (pp. 46–64). 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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| Arnett, E. B., Baerwald, E. F., Mathews, F., Rodrigues, L., Rodríguez-Durán, A., & Rydell, J., et al. (2016). Impacts of wind energy development on bats: A global perspective. In C. C. Voigt & T. Kingston (Eds.), Bats in the Anthropocene: Conservation of Bats in a Changing World (pp. 295–323). Cham: Springer International Publishing. |
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| Baddeley, A., & Logie, R. (1992). Auditory imagery and working memory. In D. Reisberg (Ed), Auditory Imagery (pp. 179–197). Mahwah (NJ): Lawrence Elrbaum Associates. |
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| Bailes, F. (2019). Empirical musical imagery beyond the "mind's ear". In M. Grimshaw-Aagaard, M. Walther-Hansen & M. Knakkergaard (Eds.), The Oxford Handbook of Sound and Imagination Vol. 2, (pp. 445–463). New York: Oxford University Press. |
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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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| Barfield, W., Zeltzer, D., Sheridan, T. B., & Slater, M. (1995). Presence and performance within virtual environments. In W. Barfield & T. A. Furness III (Eds.), Virtual Environments and Advanced Interface Design (pp. 473–513). New York: Oxford University Press. |
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| Barthes, R. (1977). The grain of the voice. In Image Music Text (pp. 179–188). London: Fontana Press. |
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| Başdoğan, Ç., & Loftin, R. B. (2009). Multimodal display systems: Haptic, olfactory, gustatory, and vestibular. In D. Nicholson, D. Schmorrow & J. Cohn (Eds.), The PSI handbook of virtual environments for training and education: VE components and training technologies Vol. 2, (pp. 116–134). Westport, CONN: Praeger Security International. |
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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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| Bello, J. P., Mydlarz, C., & Salamon, J. (2018). Sound analysis in smart cities. In T. Virtanen, M. D. Plumbley & D. Ellis (Eds.), Computational Analysis of Sound Scenes and Events (pp. 373–397). Cham: Springer International Publishing. |
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| Belton, J. (1992). 1950s magnetic sound: The frozen revolution. In R. Altman (Ed), Sound Theory Sound Practice (pp. 154–167). New York: Routledge. |
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| Bernstein, C. (2001). Play it again pac-man. In M. J. P. Wolf (Ed), The Medium of the Video Game (pp. 155–168). Austin: University of Texas Press. |
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| Bessell, D. (2002). What's that funny noise? An examination of the role of music in Cool Boarders 2, Alien Trilogy and Medievil 2. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces (pp. 136–144). London: Wallflower Press. |
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| Böhme, H. (2005). The metaphysics of phenomena: Telescope and microscope in the works of Goethe, Leeuwenhoek, and Hooke. In H. Schramm, L. Schwarte & J. Lazardzig (Eds.), Collection, Laboratory, Theater: Scenes of Knowledge in the 17th Century Vol. 1, (pp. 355–393). Berlin: De Gruyter. |
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