In Experiment 1, participants evaluated perceived affects of 110 instrument sounds that were equal in duration, pitch, and dynamics using a three-dimensional affect model (valence, energy arousal, and tension arousal) and preference and emotional intensity. Our aim was to investigate the role of timbre in the perception of affect dimensions in isolated musical sounds, by way of three behavioral experiments.
In addition, the effects of the parameter variation for the design of sound variants are presented.Ĭonsiderable effort has been made towards understanding how acoustic and structural features contribute to emotional expression in music, but relatively little attention has been paid to the role of timbre in this process. In this thesis, sound design rules for imitation of various sounds using the computationally efficient synthesis techniques are presented.
Therefore, the music synthesis system requires careful sound design. In many cases the sound synthesis system must be capable of producing music consisting of various different sounds ranging from real acoustic instruments to electronic instruments and sounds from nature. In addition, some commonly used sound effect algorithms are reviewed with respect to their applicability in computationally efficient music synthesis. They reduce aliasing more at high frequencies, but at low frequencies their performance is worse than with the first-order polynomial. The approach is also tested with two different third-order polynomials. Methods for existing bandlimited waveform synthesis are reviewed, and a new approach using polynomial bandlimited step function is presented in detail with design rules for the applicable polynomials. A major implementation problem is raised in digital source-filter synthesis, where the use of classic waveforms, such as sawtooth wave, as the source signal is challenging due to aliasing caused by waveform discontinuities. Next, the design of the structures of the applicable techniques are presented in detail, and properties and design issues of these structures are discussed. In practice, the applicable techniques are limited to additive and source-filter synthesis, and, in special cases, to frequency modulation, wavetable and sampling synthesis. First, different possible synthesis techniques are reviewed and their applicability in computationally efficient music synthesis is discussed. In this thesis, the design of a music synthesizer for systems suffering from limitations in computing power and memory capacity is presented.
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