Global ETD Search

31	Emotion in video game audio : Can sound effects be perceived to contain positive emotional content? Bélteky, Markus January 2019 (has links) Sound is an important part of almost all media. In games, sounds are used to evoke intense emotions in players. Studies has showed that music on its own can induce emotions. Soundeffects is another type of sounds that appear in games. However, do they contribute to the emotional experience? Understanding this will help sound designers enhance scenes in future video games. In this study, 23 participants were asked to conduct a test divided into two part. In the first part they were tasked to listen to four sound effects of fire and choose attributes from a predetermined list that they thought suited. Among these physical attributes were two emotional attributes. In the second part, the subjects were tasked with choosing one of the fours sound effects for a scenario with a positive emotion and motivate their choice. The results show that no sound had neither positive nor negative as an emotional attribute. Of the four sounds, two showed significance that emotion alone was an attribute for the sound. The results from the second part showed that the subjects were divided in what motivated them to choose a sound. More than a third of the subjects based their choice only on if the sound matched the emotion of the scenario presented while slightly less than a third based it only on to fit the location. The last third based it on both emotion and location. Audio Games Game Audio Computer Games Video Game Sound Sound Effects Emotion Perceived Positive Negative Fire Ljudteknik Spelljud Spel Ljud Ljudeffekt Känsla Upplevd Positiv Negativ Eld Media Engineering Mediateknik
32	Die gesproke woord en ander ouditiewe middele in N.P. van Wyk Louw se radiodramas / The spoken word and other auditive forms in the radio dramas of N.P. van Wyk Louw Zaayman, Tertia 12 1900 (has links) Text in Afrikaans with abstracts in Afrikaans and English. / Hierdie verhandeling handel oor die radiodramas van N.P. van Wyk Louw se afhanklikheid van die gesproke woord en die gebruik van ouditiewe middele ter ondersteuning daarvan. In radiodramas soos Dias, Kruger breek die pad oop en die eerste voortrek, is die gesproke woord hoofsaaklik as betekenisdraer gebruik. Gaandeweg word byklanke in Blomme vir die winter aangewend en in Die vonnis speel musiek n strukturerende rol by die opbou van die handeling. In Die held en Lewenslyn eksperimenteer Louw met radiotegniese moontlikhede ten einde die ouditiwiteit en verbeelde visualiteit te verhoog. In Dagboek van n soldaat word die byklank soms oorheersend, maar in sy laaste radiodrama, Die val van n regvaardige man, keer hy weer terug na die uitsluitlike krag van die woord. Die aanwending van dramatiese tegnieke, sowel as aktuele temas, komplekse karakterisering en die vooropstel van die idee, dra alles by tot die "toneelmatigheid" van sy radiodramas. / This dissertation deals ·with the radio dramas of N.P. van Wyk Louw, describes its dependence on the spoken word and the use of acoustical forms to reinforce the dialogue. Louw uses the spoken word as the prime bearer of meaning in Dias, Kruger breek die pad oop and Die eerste voortrek. Gradually he makes use of sound-effects in Blornme vir die winter and music plays a structural role in the action in Die vonnis. In Die held and Lewenslyn technical possibilities increase the auditory effect and imagined visuality. Sometimes the sound-effects dominate in Dagboek van n soldaat, but in his lastradio drama, Die val van n regvaardige man, Louw returns to the exclusive force of the spoken word. Louw's use of dramatical techniques, together with actual themes, complex characterization and the bringing forth of the idea, is responsible for the radio dramas being "fit for the stage". / Afrikaans and Theory of Literature / M.A. (Afrikaans en Nederlands) 839.3625 Radio plays -- South Africa -- Technique Radio broadcasting -- Sound effects
33	Auditory immersion and the believability of a first-person perspective in computer games : Do players have a preference between mono and stereo foley, and is one perceived as more believable? Wennerberg, Daniel January 2019 (has links) Based on previous research on spatial attributes in foley and the concept that auditory immersion in first-person perspective computer games is enhanced by believable sound effects, this study explores if there is a connection between stereo foley and the believability of the first-person perspective, and regardless, if there is a preference to either mono or stereo foley. An interactive listening test was created in unreal engine 4, where 20 subjects, all considered gamers, played three levels that differed visually and in auditory content. In these levels, subjects auditioned two versions of avatar-related foley sounds. One version was mono, the other stereo. The test prompted the subjects to complete two tasks for each level, whereupon the foley version changed upon completion of the first task. The subjects then answered questions in between each level, regarding the foley version. They were asked to rate believability and choose a preference, as well as provide motivations for their choices. The quantitative data showed next no evidence that either mono or stereo was generally perceived as more believable or preferred. However, the qualitative data indicates that the majority of players tend to prefer and rate stereo foley as more believable in certain game environments. Furthermore, the data indicates that some subjects prefer a sensory replication of reality in foley. It is also shown that preference for stereo width vary between subjects and therefore argued that there cannot be a perfect standardized setting for stereo foley. Audio Games Game audio Computer games Sound Sound effects FPS FPP First Person shooter First Person Perspective Foley Stereo Foley Mono Foley Mono vs Stereo Avatar Self-produced Immersion Believability Preference Mid-side Recording technique Unreal Engine Media Engineering Mediateknik Övrig annan teknik
34	Which compound-earcon's attributes may improve a player's performance in a search-oriented gameplay: rhythm vs timbre? Savvateev, Anton January 2018 (has links) Earcons are commonly used by sound designers in order to support visual cues in a game andto make a gaming experience more enjoyable. This study covers two earcons’ attributes: rhythm and timbre. Rhythm and timbre attributes were chosen according to the earcon sounddesign guidelines from the previous studies. An experiment in a form of a video game was conducted in order to research whether one of the conditions can increase a players’performance. A subject had to choose the correct key to the door in order to go to the next location. There were 3 different locations and there were totally 5 different own-designed earcons: 1 incorrect earcon in the both conditions and 2 different correct earcons in each condition. 20 subjects with various gaming experience from the Luleå University of Technology participated in the experiment. The subjects were randomly divided into two groups with different conditions: rhythm and timbre. The amount of wrong trials and completion time were analyzed for each condition and the results were given with the help of Mann-Whitney U-test and t-test calculations. The results of U-test showed that there was a significant difference between two groups in terms of the wrong trials amount. Group with rhythm condition showed better performance in terms of the wrong trials amount. The t-test showed a significant difference between the two groups in terms of completion time. Group with timbre condition showed better timing performance, although considering the analysis it did not increase their performance in terms of making correct choices. Further research might be recommended on comparing various earcon attributes in different ecologically valid scenarios. Audio in games Sound design Audio design Game Audio design Sound effects in games Audio in games Sound in games Earcon Earcons Compound-earcons Compound-earcon Compound earcons Compound earcon Rhythm Timbre Search-oriented gameplay Player's performance Digital games Computer games SFX Ljuddesign Ljud i digitala spel Compound earcons Earcons Media Engineering Mediateknik

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