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.
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