Designing Next-Gen Academic Curricula for Game …rob/papers/hamilton_aes56.pdf · Designing Next-Gen Academic Curricula for Game-Centric Procedural Audio and Music Rob Hamilton1

Designing Next-Gen Academic Curricula forGame-Centric Procedural Audio and MusicRob Hamilton1

1Stanford University, CCRMA, Stanford, CA, USA

Correspondence should be addressed to Rob Hamilton ([email protected])

ABSTRACTThe use of procedural technologies for the generation and control of real-time game music and audio systemshas in recent times become both more possible and prevalent. Increased industry exploration and adoptionof real-time audio engines like libPD coupled with the maturity of abstract audio languages such as FAUSTare driving new interactive musical possibilities. As such a distinct need is emerging for educators to codifynext-generation techniques and tools into coherent curricula in early support of future generations of sounddesigners and composers. This paper details a multi-tiered set of technologies and workflows appropriatefor the introduction and exploration of beginner, intermediate and advanced procedural audio and musictechniques. Specific systems and workflows for rapid game-audio prototyping, real-time generative audioand music systems, as well as performance optimization through low-level code generation will be discussed.

1. INTRODUCTIONComputer-based representations of space and action haveover the last five decades become both increasingly so-phisticated and commonplace. The computer gamingindustry has bloomed into a multi-billion dollar busi-ness, offering rich graphic content and dynamic controlinterfaces on hardware platforms ranging from desktopand laptop computer systems to home gaming-consolesand mobile devices. The advent of ubiquitous fast net-work connections and an explosion in modern society’suse of social media have supported the rise of popularmassively multiplayer online environments - distributedserver-based virtual spaces capable of engaging largenumbers of clients at any given time. And while theredo exist large-scale music-based social gaming networksand gaming franchises focused on interactive musicalgameplay [7], the majority of gaming titles still primar-ily incorporate music as a background support for gamenarrative and mood.

Even as graphics processing used in gaming systemshave become faster, more realistic and more sophisti-cated with the increase in power available to most com-puting devices, the allocation of cpu cycles to sound andmusic concerns in most commercial gaming softwarepipelines has remained relatively small by comparison.One result of such limitation is that the vast majority ofsound assets used in software systems still consist of pre-

recorded samples, artfully combined by composers andsound designers to create dynamic soundscapes and mu-sical experiences.

As such, one concern for composers working with in-teractive music systems for games and similar environ-ments is the avoidance of undue repetition and the in-tegration of thematic musical material with experiencesunfolding in the software. Techniques such as horizontalarrangement and re-sequencing - where game data drivesthe playback of subsequent thematic sections of a pre-recorded composition - or vertical arrangement and or-chestration - in which the density and orchestration ofmusical material in the form of layered recorded materi-als is driven by game data - allow composers to dynam-ically adjust their composed materials in alignment withgame progress and narrative. And through the use of dy-namic digital signal processing coloring both game audioand music, a greater degree of interactivity coupled withhigh-quality composed material can be achieved.

While such techniques allow sample-based soundarchitectures to display a base level of dynamic changeand interactivity, true process-based or procedural audioand music systems - wherein game parameters aretightly coupled in real-time to synthesis and/or audiomanipulation processes - are still a significant exceptionto the industry standard audio workflows.

AES 56TH INTERNATIONAL CONFERENCE, London, UK, 2015 February 11–131

Hamilton Designing Game-Centric Academic Curricula for Procedural Audio and Music

While recent increases in gaming hardware mem-ory and cpu speed have removed many of the oftcited barriers prohibiting the use of procedural audiosystems in commercial gaming systems, one barrier thatstill remains however is a distinct lack of educationalcurricula for sound designers and composers lookingto expand their artistic and commercial practice intoprocedural directions.

2. PROCEDURAL SOUND AND MUSIC

Data rich systems found in computer gaming or virtualreality platforms, offer an opportunity to couple motionand action in virtual spaces to sound and music gener-ating processes. By creating music and sound in virtualenvironments procedurally, that is by creating and con-trolling sounds through the mapping of parameters ofmotion, action or state to sound producing systems, thesonic experience presented to users can be tightly inte-grated with the visual and narrative experiences on whichsuccessful cognitive immersion in game environments isbased. The same user control systems that control mo-tion or action in space can control parameters of soundand music. By coupling user action in direct as well asabstracted fashion, rich artistic environments can be cre-ated. In this way, the virtual environment itself as well asa gamer’s interaction with that environment can becomeboth an active and reactive participant in the game’s sonicexperience.

2.1. Early Days of Procedural Sound

The use of procedural techniques linking game data di-rectly to the generation of sound and music systemsin games and virtual environments is not new. In theearly days of computer gaming, before computer mem-ory space was large enough to allow for the storage andplayback of large pre-recorded audio files and samples,the majority of sound effects and game soundtracks werecommonly synthesized in real time using ProgrammableSound Generators (PSGs) driving simple synthesis pro-cesses [2].

As gaming systems became larger and more complex,the role of sound and music generation shifted signif-icantly away from real-time data-driven synthesis andcontrol towards pre-recorded music and sound, more inthe style of a motion picture.

Andy Farnell described this paradigm shift in gam-ing audio and music as such:

These computers seemed alive. There wassuch low latency and response from the ma-chine, and the sounds that they made were gen-erated synthetically. There was a tight cou-pling... it was like an instrument. I think soundsamples came along and sound became dead.And it stayed dead for a long time. [4]

2.2. Recent Work

While many commercial video games embraced theuse of sound samples and more static soundtracks, thegrowth of a more casual gaming practice - featuring lesscomplex game systems often based around portable de-vices like the Nintendo DS gaming system or mobile de-vices - often showcased innovative musical game sys-tems. Designer Toshio Iwai created Electroplankton in2005 with a dynamic musical system that was tightlyintegrated into the game itself [10]. More recently, thehigh-profile game Spore used Pure Data to drive proce-dural music for its in-game character creator, mappinguser action to parameters influencing the musical scorein real-time [3].

With the introduction of projects such as libPD [1], awrapper for Pure Data [16] enabling its use as an embed-ded audio engine, many of the difficulties limiting the useof process-driven audio and music in commercial gamingsystems have decreased. Recent releases such as Frac-tOSC1 and SimCell [15] feature dynamic real-time musicand audio systems driven by libPD. And with the massiveboom of mobile applications following the launch of theApple and Google application stores, an ever increasingnumber of music-based applications like Smule’s Oca-rina [21] and Leaf Trombone [20] - each powered by anembedded version of the ChucK audio programming lan-guage [19] - are leveraging procedural techniques as acore gameplay component.

3. EXISTING GAME AUDIO CURRICULARDEVELOPMENT

To date there have existed significant academic and in-dustry efforts to provide direction in the development andstandardization of game-specific audio and music curric-ula. Perhaps most notably, in the 2011 ”Game Audio

1http://fractgame.com

AES 56TH INTERNATIONAL CONFERENCE, London, UK, 2015 February 11–13Page 2 of 8


Curriculum Guideline” [9] prepared by the EducationWorking Group of the Interactive Audio Special Inter-est Group, a detailed four-year academic curriculum isproposed, stressing necessary skills for students to suc-cessfully enter the game audio workforce. Skills rangingfrom Sound Design, Dialog, Mixing and Composition toInteractive Audio Aesthetics and Game Music Analysisare suggested, providing a well-rounded curriculum tosupport industry’s expectation for existing projects.

However, not only are discussions about procedural mu-sic and audio systems not prominent in the proposedguidelines, the role of Audio Programmer is consideredseparate from the specializations of Sound Design andMusic, with the guidelines going as far to suggest:

...an Audio Programmer should - whilehaving experience in audio - obtain an under-graduate degree in Computer Science first andforemost.

As technology continues to evolve at an extremely rapidpace, the use of what were once considered ”advanced”techniques in this field are rapidly becoming tools thatstudents routinely incorporate into their own sonic prac-tices, expanding the ”Jack of All Trades” mentality be-yond simple audio and music creation and editing to in-corporate software development and design. Today’s stu-dents who have grown up surrounded by powerful com-puting devices are entering University settings exhibitinga comfort level with technology that simply did not ex-ist in previous generations. For such students, the com-bination of artistic and technological pursuits is nothingrevolutionary, just an inevitable consequence of the roletechnology plays in their lives.

4. THE RISE AND ROLE OF THECOMPOSER/PROGRAMMER

Rather than view musical composition and computer pro-gramming as two distinct skill sets, success in procedu-ral music and audio concerns somewhat mandates stu-dents to possess skills from both these domains. To suc-cessfully understand, design and implement proceduralsound and music systems, students must be able to con-ceptualize music as a non-linear system of sorts, leverag-ing the power of dynamic software systems to augmenttraditional linear audio and music workflows. Towardsthese goals, it becomes imperative that students of au-dio and music are exposed to a wide array of interactive

music and audio systems and methodologies beyond theinfluence of static audio-visual media such as cinema.

One place in academia where the role of com-poser/programmer has been fostered and promotedthroughout its nearly 50-year history can be found withinthe field of Computer Music. From Max Mathewsand John Pierce’s early experiments with computer-generated sound and music at Bell Labs [11], workingwith composers such as Jean-Claude Risset and JohnChowning, there was a deep-rooted understanding thatboth computational and musical systems of thought wereintegral in order to truly understand the sonic possibil-ities afforded by computers. Modern computer musicprograms can be found within countless Music Depart-ments at Universities around the world and routinelyteach the integration of composition and sound designwith interactive visual systems.

5. A MULTI-TIERED PROCEDURALCURRICULUM

The design and development of procedural audio sys-tems are by nature complex. For sound designers andcomposers, accustomed to working with audio and mu-sic tools within relatively straightforward asset creationproduction workflows, the dynamic and volatile nature ofprocedural systems can present an overwhelming chal-lenge. The tight coupling between game and audio en-gines necessary to procedurally bind action to audibleevent requires practitioners at some level to be capablesoftware designers and audio engineers, in addition totraditional sound design and music composition skill-sets. And while industry development teams can allocatespecialists to each of these roles, students or individualsworking outside of a fully-funded professional environ-ment will likely need to bootstrap their own projects, si-multaneously playing multiple roles across multiple spe-cialties.

When introducing procedural audio systems and their in-tegration into game engines as part of an academic cur-riculum, a multi-tiered approach in which the need forstudents to engage game-engine code is introduced grad-ually can offer students the experience of composing anddesigning for dynamic systems before necessitating anyhands-on programming skills. Within the context of aComputer Music or Interactive Media program, such acombination of software-based musical and visual mediais already becoming relatively common.



For the purposes of this paper a three-tiered approach isdefined, made up of the following tiers:

• Rapid prototyping with Open Sound Control(Beginner)

• Embedded audio systems with libPD (Intermediate)

• Generating low-level audio code (Advanced)

The amount of student interaction with actual game-engine code can itself be presented in a multi-tieredfashion, introducing procedural systems with no game-engine coding first, and gradually increasing student ex-posure to game coding paradigms. This technique andthe tools described below were explored during Stan-ford University courses such as Compositional Algo-rithms, Psychoacoustics, and Spatial Processing andComputer Music Improvisation and Algorithmic Perfor-mance (2013), as well as during the 2014 Designing Mu-sical Games::Gaming Musical Design CCRMA Sum-mer workshop, an intensive weeklong seminar in design-ing and building procedural game environments held atStanford’s Center for Computer Research in Music andAcoustics2.

6. TIER 1: RAPID PROTOTYPING WITH OPEN-SOUND CONTROL

One technique for quickly prototyping procedural gameaudio interactions makes use of the Open Sound Con-trol (OSC) protocol [22] to pass game-state parametersin real-time to powerful interactive audio systems writ-ten in computer-music programming languages such asSupercollider, ChucK, Max/MSP or Pure Data. By com-piling OSC libraries into a game’s codebase and hookingindividual engine events, control systems or game-statedata, a game’s parameter stream can be mapped to con-trol complex audio systems. Students are still requiredto build sound engines in these higher-level audio pro-gramming languages, however as these languages weredesigned to be used primarily by musicians, the learningcurve and overall complexity is significantly lower thanprogramming similar systems in low-level languages.

Using OSC and a music-based programming environ-ment, student composers and sound designers can fo-cus their energy on crafting musical systems and inter-actions, and not on the integration of low-level audio

2https://ccrma.stanford.edu/workshops/designingmusicalgames2014

code. To facilitate this rapid-prototyping approach, a se-ries of Open-Sound Control enabled game environmentshave been developed, allowing students to explore famil-iar game environments such as Minecraft, and Quake III,with more flexible implementations designed to integratewith the Unreal and Unity game development platforms.

6.1. Osccraft

Released in the Summer of 2014, Osccraft is a modifica-tion to the popular game Minecraft that embeds oscP5, abi-directional Java OSC library, into the Minecraft Forgemod framework. Osccraft outputs real-time OSC mes-sages passing parameters of player motion (3D transla-tion and rotation), block events (creation, destruction andhit interactions), as well as tracking AI-controlled mobsand World events such as time (across a day-night cy-cle). Osccraft can also be run with multiple networkedclients, allowing for the creation of complex multiuserinteraction schemata.

As the core game-mechanic of Minecraft is the creationand manipulation of blocks, users can rapidly build andmodify game environments on the fly with no additionalcode or software use other than the game itself. As partof a procedural sound and music curriculum, studentscan use Osccraft to build and interact with game topogra-phies, structures and entities on-the-fly, testing soundtreatments and processing techniques via OSC withoutexiting the game environment.

The Osccraft mod code is freely available and open-sourced both as a re-obfuscated and compiled .jar file andas source code. The project repository can be found ongithub at https://github.com/robertkhamilton/osccraft

6.2. q3osc

q3osc [8] is a heavily modified version of the open-sourced ioquake3 gaming engine featuring an imple-mentation of Open Sound Control for bi-directionalcommunication between a game server and one or moreexternal audio servers. By combining ioquake3’s inter-nal physics engine and robust multiplayer network codewith a full-featured OSC packet manipulation library,the virtual actions and motions of game clients andpreviously one-dimensional in-game weapon projectilescan be repurposed as independent and behavior-drivenOSC emitting sound-objects for real-time networkedperformance and spatialization within a multi-channelaudio environment.



Fig. 2: A multi-player chromatic marimba built within Osccraft for the 2014 ”Designing Musical Games::GamingMusical Design” Workshop at Stanford University’s CCRMA.

6.3. Unity3D

For students with some background in software develop-ment or game art and animation, a more hands-on ap-proach can be pursued in which game scripts and art as-sets can be manipulated at a high level. The Unity3Dgame programming environment can be easily extendedto embed OSC libraries using a variety of programminglanguages, including Javascript, C# or Boo. A numberof fully-featured OSC libraries with Unity-specific wrap-per classes are freely available including OSCSharp3 andUnityOSC4.

To introduce programming concepts without overwhelm-ing relatively inexperienced students, a simple 2Dsidescroller game environment can be easily designedin Unity with key game interactions hooked to OSC-generating events. For the Designing Musical Gamesworkshop, a simple game titled ”World of Mush” wasprototyped and distributed to students, with basic OSChooks for player position and trigger zones includingmushroom-shaped jump-pads already included. Students

3https://github.com/valyard/OSCsharp4https://github.com/jorgegarcia/UnityOSC

were encouraged to add new OSC hooks by reproduc-ing simple code elements included in the project, explor-ing new creative game interactions and building dynamicsound processes using the Pure Data programming envi-ronment.

6.4. UDKOSCFor students more comfortable with software develop-ment and programming, full 3D game engines such asthe Unreal Development Kit (UDK) [17] or the more re-cently released Unreal Engine 4 provide next-gen graph-ics capabilities and robust game architectures. Intro-duced in 2011, UDKOSC is a modification to the UDKfeaturing OSC input and output streams for the control-ling, tracking and sonification of in-game actions andmotions [6]. UDKOSC was designed to support the cre-ation of immersive mixed-reality musical performancespaces as well as to serve as a rapid prototyping work-flow tool for procedural/adaptive game audio profession-als [14, 18]. Data points tracked in UDKOSC include ac-tor, projectile and static mesh coordinate positions, gameevents such as collision, and real-time ray tracing fromplayer actors to identify interaction with specific objecttypes and classes.



Fig. 2: Parameters of avatar skeletal-mesh bone translation and rotation for a bird-like avatar are tracked with UDKOSCin the mixed-reality musical performance work ECHO::Canyon

UDKOSC is a set of UDK custom class files, whichwhen compiled, take the form of a custom game-typewithin the UDK. Gestures, motions and actions gener-ated by actors in game-space are hooked and output asOSC messages to be transformed in real-time into con-trol messages for complex audio and musical softwaresystems. While the UDK restricts access to Unreal’s coreC++ codebase, it exposes UnrealScript as a higher-levelscripting language. UnrealScript allows developers tobind Windows Win32 .dll’s to UnrealScript classes, en-abling external blocks of code to interact with the script-ing layer. Using this DllBind functionality, UDKOSCbinds a customized version of Oscpack to a series of Un-realScript classes and mirrored data structures, passingbidirectional data both into and out from the game en-gine. Real-time game data can be streamed over UDP toany given IP-address and port combination and controlmessages from external processes can be streamed intothe game engine.

OSC input can be used to drive actor velocity and rota-tion in three-dimensions, and can be targeted towards nu-merous entities individually or simultaneously throughthe use of OSC bundles. Input data for the control ofgame pawn, player or camera actors is designed to offerdetail and flexibility in the manner in which actors aremoved and controlled within the game engine. In thisway, detailed choreographed positioning and action canbe carried out, such as the flocking actions of flying ac-tors or intricate camera motion and cut scenes.

The UDK is available at no cost for educational and

non-commercial use and until early 2014 was updatedmonthly with new features ranging from enhancementsto the lighting and modeling tools to integration with Ap-ple’s iOS, allowing works created in the UDK to be pub-lished to mobile devices such as the iPhone and iPad.

7. TIER 2: EMBEDDED PROCEDURAL AUDIOENGINES

While the use of Open Sound Control alongside exter-nal interactive music programming languages allows stu-dents to quickly experiment with game parameter map-pings and novel compositional and sound design tech-niques, this approach becomes problematic when thegoal of a given game audio project is the release of acommercially ”shippable” game product. To build gameaudio and music systems that can be released as com-mercial game products to end users, the audio generatingcodebase needs to be compiled into one distinct project.However rather than leap from flexible computer-musicstyle programming languages directly into sound andmusic systems based around low-level audio program-ming, there exists a middle-ground wherein a fully fea-tured dynamic audio programming language can be em-bedded within a host application, communicating withthe game engine using hooks similar to the Open SoundControl implementations explored in our first tier ap-proaches. While the use of languages like ChucK hasbeen successfully explored within mobile musical gam-ing applications, at this time, Pure Data and the libPDproject offer perhaps the most mature and stable engineof this type.



7.1. libPD

libPD is an embeddable library that wraps Miller Puck-ette’s Pure Data audio programming language and al-lows it to be compiled into interactive media-rich envi-ronments. The libPD project has been ported to a num-ber of platforms including iOS and Android and allowssound designers and composers to build dynamic soundprojects using Pure Data’s graphical patching paradigms.The Pure Data user and developer community are bothlarge and robust, making the Pure Data language a strongchoice for students looking to learn more about interac-tive music systems.

Binding libPD into a Unity3D or iOS project is relativelystraightforward and painless thanks to the project’s pre-defined wrapper classes for CSharp and iOS. During theDesigning Musical Games CCRMA workshop, partici-pants with no prior libPD or Unity experience were ableto build a Unity Scene with libPD hooks into player mo-tion and rotation attributes, compile that project for iOSand subsequently push the Unity project with an embed-ded libPD engine onto an iOS device.

8. TIER 3: PROCESS OPTIMIZATION ANDLOW-LEVEL CODE GENERATION

One major concern when working with dynamic audioenvironments like PD in commercial projects is the dy-namic nature of the system itself and the potential forperformance issues. The same inherent flexibility thatmakes PD a great choice for prototyping and develop-ment makes it less optimal for projects with fixed non-changing audio demands. For advanced students build-ing fast and stable audio and music projects, the needto use highly optimized code with small memory andcpu footprints may likely lead them away from a projectlike libPD and towards functional specification and codegeneration workflows using projects such as FAUST andHEAVY.

8.1. FAUST

FAUST, or Functional Audio Streaming, is a functionalspecification language developed at GRAME that allowssound designers to define synthesis and signal processorsat a high level, prototype and test those processes as com-piled objects for dynamic audio programming languageslike PD and Supercollider, and then subsequently com-pile them down to highly optimized C++ code for use di-rectly in a game-engine [5]. FAUST features both a desk-top based development environment as well as an online

FAUST compiler, capable of rendering FAUST objectsin a variety of library and plugin forms [12].

8.2. HEAVY

Another option to generate efficient and optimized com-piled code objects from a higher-level language speci-fication can be found in Martin Roth and Joe White’sHEAVY project5 (formerly known as Tannhauser PD)6.HEAVY analyzes Pure Data patches and generates effi-cient compiled software objects or C++ code. HEAVYsprang out of Roth’s previous work at RJDJ, a mobilemusic application company that used highly optimizedversions of Pure Data and libPD in their shipping musi-cal products. At the time of this writing, HEAVY is stillin a closed Beta state.

9. CONCLUSIONS

There exists a growing need in commercial game devel-opment for flexible and dynamic audio systems to com-plement the highly procedural and generative visual as-pects of modern gameplay. As demand grows for sounddesigners and composers comfortable working in dy-namic and procedural sound and music paradigms, so toowill demand grow for educational curricula designed tointroduce and refine the techniques and workflows neces-sary to build these intricate and subtle systems. This pa-per has presented a multi-tiered approach for the teachingof procedural sound and music systems. By presentingstudents with a series of gaming platforms and dynamicsound and music generation techniques at different stepsalong their educational path, students can quickly beginexperimenting with the artistic and creative aspects ofbuilding procedural sound systems without being intim-idated or slowed down by the intricacies of software de-velopment. And as their skill set and comfort level withprocedural and programming systems grows, the projectsand workflows outlined in this paper can provide a steadystream of challenges and attainable goals.

10. REFERENCES

[1] Brinkmann, P. and McCormick, C. and Kirn, P.and Roth, M. and Lawler, R. and Steiner, H.-C.,Embedding pure data with libpd, Proceedings ofthe Fourth International Pure Data Convention, pp.291–301, June, 2011.

5http://heavy.enzienaudio.com/6http://tannhauserpd.section6.ch



[2] Collins, K., FromBitstoHits:Video Games MusicChanges its Tune, Film International, vol. 12, pp.4–19, January, 2012.

[3] Danks, M., PD in video game Spore; fo-rum communication, http://lists.puredata.info/pipermail/pd-list/2007-11/056307.html

[4] Farnell, A., Keynote Lecture, Satellite Workshop atthe 14th International Conference on Digital AudioEffects (DAFx), Paris, France, DAFx/Ircam, Paris,France, 2011, http://vimeo.com/35254559.

[5] Y. Orlarey, D. Fober, and S. Letz, An algebra forblock diagram languages, in Proceedings of In-ternational Computer Music Conference, pp. 542–547, 2002.

[6] Hamilton, R., UDKOSC: An immersive musicalenvironment, in Proceedings of the InternationalComputer Music Conference, Huddersfield, UK,pp. 717–720, August, 2011.

[7] Hamilton, R. and Smith, J. and Wang, G., SocialComposition: Musical Data Systems for Expres-sive Mobile Music, Leonardo Music Journal, vol-ume 21, 2011.

[8] Hamilton, R., q3osc: or How I Learned to StopWorrying and Love the Game, In Proceedingsof the International Computer Music AssociationConference, Belfast, Ireland, 2008.

[9] Education Working Group of the Interactive AudioSpecial Interest Group, Game Audio CurriculumGuideline v.10, Interactive Audio Special InterestGroup (IASIG), March 2011.

[10] Iwai, T., Electroplankton User Manual, Nintendo ofAmerica, Inc., 2005.

[11] Mathews, M. V., The Digital Computer as a Musi-cal Instrument. Science, New Series, Vol. 142, No.3592 (Nov. 1, 1963), pp. 553-557.

[12] R. Michon, Y. Orlarey, The Faust Online Compiler:a Web-Based IDE for the Faust Programming Lan-guage.

[13] Onen, U. and Stevens, R. and Collins, K., De-signing an International Curriculum Guideline forGame Audio: Problems and Solutions, Journal ofGame Design, Development and Education, pp. 38– 47, 2011.

[14] Paul, L. J., Video Game Audio Prototyping withHalf-Life 2, in Transdisciplinary Digital Art,Sound, Vision and the New Screen, Adams, R. andGibson, S. and Arisona, S. editors, Communica-tions in Computer and Information Science, vol. 7,pp. 187–198, Springer Berlin Heidelberg, 2008.

[15] Paul, L. J., The Procedural Sound Design of SimCell, presented at the AES 137th convention, AES2014, Los Angeles, CA, 2014.

[16] Puckette, M., Pure Data, in Proceedings, Interna-tional Computer Music Conference, San Francisco,pp. 269–272, 1996.

[17] Epic Games, Unreal Development Kit (UDK),https://www.unrealengine.com/products/udk

[18] Verron, C. and Drettakis, G., Procedural audiomodeling for particle-based environmental effects,in Proceedings of the 133rd AES Convention, Au-dio Engineering Society, San Francisco, 2012.

[19] Wang, G. The ChucK Audio Programming Lan-guage: A Strongly-timed and On-the-fly Envi-ron/mentality. PhD Thesis, Princeton University,2008.

[20] Wang, G. and Oh, J. and Salazar, S. and Hamilton,R., World Stage: A Crowdsourcing Paradigm forSocial / Mobile Music, In Proceedings of the In-ternational Computer Music Conference.. Hudder-sfield, UK, 2011.

[21] Wang, G., Ocarina: Designing the iPhone’s MagicFlute, Computer Music Journal. 38(2):8-21, 2014.

[22] Wright, M., Open Sound Control: an enabling tech-nology for musical networking, Organised Sound,vol. 10, pp. 193–200, 2005.


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Designing Next-Gen Academic Curricula for Game …rob/papers/hamilton_aes56.pdf · Designing Next-Gen Academic Curricula for Game-Centric Procedural Audio and Music Rob Hamilton1