Much research has been undertaken to discover what parameters in a musical composition carry emotional meaning. We now take for granted that harmonic content, instrumentation, tempo, timbre, pitch range, and dynamics (etc.) all play some role in music's affective abilities. However, there has been little research into similar aspects of affect when it comes to sound effects. Though many audio synthesis methods strive for greater realism, realism is not always the most believable sound in multi-media situations. This paper seeks to explore a methodology for research into the affective attributes of sound effects. An understanding of these affective elements can lead to more advanced sound synthesis methods for audio-visual media.

Author: Collins, Karen
Affiliation: University of Waterloo, Waterloo, Ontario, Canada
AES Conference: 35th International Conference: Audio for Games (February 2009)
Paper Number: 2
Publication Date: February 1, 2009
Subject: Audio for Games: Sound Design, Recording, and Foley

Click to purchase paper as a non-member or you can login as an AES member to see more options.

No AES members have commented on this paper yet.

Subscribe to this discussion

To be notified of new comments on this paper you can subscribe to this RSS feed. Forum users should login to see additional options.

Start a discussion!

If you would like to start a discussion about this paper and are an AES member then you can login here:
Username:
Password:

If you are not yet an AES member and have something important to say about this paper then we urge you to join the AES today and make your voice heard. You can join online today by clicking here.