Electronically synthesized tone sequences with systematic manipulation of amplitude and pitch variation, pitch level and contour, tempo, envelope, and filtration were rated on emotional expressiveness. The results show that two-thirds to three-quarters of the variance in the emotion attributions can be explained by the manipulation of the acoustic cues, and that a linear model of the judges'' cue utilization seems to be a good approximation to their response system. Implications for phylogenetic and ontogenetic aspects of the vocal expression of emotion and for the psychology of music are discussed.