{"title":"虚拟现实中的音乐","authors":"Noah Kellman","doi":"10.1093/oso/9780190938680.003.0012","DOIUrl":null,"url":null,"abstract":"Virtual reality (VR) is a platform that is only just beginning to find its footing in the consumer industry. With a highly diverse line of products available, composers are challenged with different technological specifications for each VR project. This chapter discusses how VR, as a medium, is unique, covering important concepts and technological differences like degrees of freedom (DOF), positional tracking systems, binaural audio, ambisonics, and more. It then goes on to explore some different methods for designing scores for VR.","PeriodicalId":325867,"journal":{"name":"The Game Music Handbook","volume":"22 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Music in Virtual Reality\",\"authors\":\"Noah Kellman\",\"doi\":\"10.1093/oso/9780190938680.003.0012\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Virtual reality (VR) is a platform that is only just beginning to find its footing in the consumer industry. With a highly diverse line of products available, composers are challenged with different technological specifications for each VR project. This chapter discusses how VR, as a medium, is unique, covering important concepts and technological differences like degrees of freedom (DOF), positional tracking systems, binaural audio, ambisonics, and more. It then goes on to explore some different methods for designing scores for VR.\",\"PeriodicalId\":325867,\"journal\":{\"name\":\"The Game Music Handbook\",\"volume\":\"22 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-11-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Game Music Handbook\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/oso/9780190938680.003.0012\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Game Music Handbook","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780190938680.003.0012","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Virtual reality (VR) is a platform that is only just beginning to find its footing in the consumer industry. With a highly diverse line of products available, composers are challenged with different technological specifications for each VR project. This chapter discusses how VR, as a medium, is unique, covering important concepts and technological differences like degrees of freedom (DOF), positional tracking systems, binaural audio, ambisonics, and more. It then goes on to explore some different methods for designing scores for VR.