Yearbook-Archive: Vol 5 (1988)

Vol 5 (1988): Musikpsychologie – Empirische Forschungen - Ästhetische Experimente / Music psychology - Empirical Research - Aesthetic Experiments [*]

Volume 5 was edited by Klaus-Ernst Behne, Günter Kleinen und Helga de la Motte-Haber.


The printed volume was published by Hogrefe in 1988. The rights of use were reacquired by DGM and the contributions were republished here in 2020 as an OpenAccess publication for free, unrestricted use under the CC-BY 4.0 licence.

All contributions are available as searchable PDF files, have a DOI and are searchable in the PubPsych/PSYNDEX database. Contribution titles and abstracts are consistently given in German and English.

Titles and abstracts marked with [*] have been automatically translated from the original language with

In Memoriam
The contributions in this section are available as a Collective PDF.

William Stern zum 50. Todestag

Günter Kleinen

Research Reports

100 Jahre »Ästhetik von unten« 100 years of "aesthetics from below" [*]

Christian G. Allesch
Based on the Augustianian dualism of experience and knowledge, this report discusses the history of Fechner's »Ästhetik von unten« in the course of the last 100 years. The British philosophy of enlightenment is shown to be the source of this empiric theory of aesthetics, its socio-political relevance is demonstrated by the fervour of his often strongly biased contemporary critics, such as E. v. Hartmann, F. Brentano and B. Croce. At the beginning of this century an extraordinary number of experiments in aesthetical psychology were made but their results offered no base for later research to formulate a convincing theory. After World War II, research in this field was influenced by element orientated theories (information theory) which is criticized by the author who recommends a return to the ideas of Gestalt psychology.

Experimentelle Untersuchungen zum Erwerb eines impliziten musikalisch-syntaktischen Wissens Experimental investigations for the acquisition of an implicit musical-syntactic knowledge [*]

Thomas H. Stoffer, Rudolf Vogelhuber
Two experiments were conducted to explore some aspects of the acquisition of tacit music-syntactic knowledge. In Experiment 1 , learning of an artificial transformational syntax for melody with an explicit instruction for rule induction was compared with incidental learning using two different orienting tasks. One orienting task was designed to focus attention on the musical elements that are objects of the rules of syntax. The task in the control condition just asked subjects (S) to listen attentively to the melodies. Best performance in a test of acquired tacit syntactic knowledge was achieved in the explicit instruction condition without an orienting task. This result contradicts Reber' s (1976) suggestion that tacit knowledge is acquired best under conditions of incidental learning without conscious control of the cognitive processes involved in rule induction. Only when an attention demanding orienting task and explicit instruction to induce rules were combined, Reber's (1976) results were replicated with musical material. Experiment 2 was designed to further investigate the conditions under which some more learning of tacit music-syntactic knowledge would be observed. Orienting tasks asking for structural identification and those asking for connotative semantic labeling were compared, orthogonally varying the structural complexity of the tasks within each domain. Results show that the same amount of tacit knowledge as in the explicit instruction condition in Experiment 1 can be found only when the structural complexity of the orienting task demands focussing of attention to all the musical elements that are objects of the rules of syntax and when explicit structural coding of musical relationships is demanded instead of connotative labeling, despite the fact that in order to correctly label a melody connotatively in the experiment, the same musical relationships as in the structural orienting tasks had to be recognized implicitly.

Strukturen des musikalischen Gedächtnisses. Anmerkungen zu formalen Modellen der Repräsentation Structures of musical memory. Notes on formal models of representation [*]

Christa Nauck-Börner
Several formal models of internal representation of music have been developed. The models by Deutsch & Feroe and by Lerdahl & J ackendoff are criticized for several reasons: 1. lt is doubtful whether a parallel between language and musical grammar can be established; 2. the representation of musical material is being described in terms of not generally accepted, even contradictory music-theoretical descriptions instead of in terms of a psychological theory; 3. the models are limited to tonal music and to the perceptual organization of microstructures; 4. the role of contour in memory for melodies is being neglected. lt is argued that the concept of schemata, for instance schemata for style, form, coritour, or different scales, can explain how long-term memory and attentional problems can be solved by the listener and that listening to and understanding music is not a determinated, but rather an ambiguous process.

Klangbreite und Tonempfindung. Bedingungen kategorialer Wahrnehmung aufgrund experimenteller Untersuchung der Intonation Sound range and sound sensation. Conditions of categorical perception based on experimental investigation of intonation [*]

Jobst Fricke
The phenomenon of »Zurechthören« (a kind of harmonizing in hearing) is described and discussed in the light of the theories of H.v. Helmholtz and later authors (mostly german). »Zurechthören« is shown as connected with the idea of »categorial perception«, a term used in perceptual psychology. The existence of 12 areas of pitch perception in an octave is explained as an audiopsychological phenomenon. lntervals differ in how wide their individual area of pitch allocation can be, offering specific possibilities of expression by intonation. The resulting consequences for musical performance are discussed in regard to equal temperament.

Selbstkognition und Lernstrategien Self-cognition and learning strategies [*]

Günther Rötter
This is a report on the first phase of a study on how the training strategies of piano students are related to their general self concept, and evaluation of their achievement by their teachers and themselves. Factor analysis proves the self concept not to be homogenous, correlative interactions that could be found are discussed in the light of motivational psychology.

EEG-Korrelate des Musikerlebens II EEG Correlates of Musicians' Life II [*]

Klaus-Ernst Behne, Peter Lehmkul, Manfred Hassebrauck
This is the second part of a study to measure the influence of tempo, style of music, volume and educational background on the EEG values of subjects listening to music. In contrast to expectations based on the concept of vigilance, tempo and volume yielded only slight effects (Manova). Students of music and students of medicine differed greatly in frequency of a-waves. In general, listening to music reduced the frequency of a-waves and led to an occipital cumulation of ß-waves.

Wirkungen eines musikalischen Themas in instrumentaler und vokaler Form auf evozierte Potentiale (ERP) Effects of a musical theme in instrumental and vocal form on evoked potentials (ERP) [*]

Marta Olivetti Belardinelli, Vilfredo de Pascalis
Measurements in several regions of both hemispheres of the brain (event related potentials) showed some clear cut effects of music in an instrumental or vocal version, indicating that vocal music activates both hemispheres, whereas pure instrumental music focusses on the right side.


Klangfarbenform-ECHANGES für einen Blechbläser von Vinko Globokar Klangfarbenform-ECHANGES for a brass player by Vinko Globokar [*]

H. de la Motte-Haber


Max Oppenheimer: Das Orchester. Ein Gemälde im Spiegel der zeitgenössischen Kritik Max Oppenheimer: The Orchestra. A painting in the mirror of contemporary criticism [*]

B. Barthelemes

Die Klangfahnder The sound investigators [*]

H.-U. Werner

Francis Bacon - Priester des Körpers Francis Bacon - priest of the body [*]

C. Lange-Küttner

The contributions in this section are available as a Collective PDF.

Christian G. Allesch: Geschichte der psychologischen Ästhetik.

Holger Höge

Peter Brünger: Geschmack für Belcanto- und Pop-Stimmen. Eine repräsentative Untersuchung unter Jugendlichen in einer norddeutschen Großstadt

Günther Rötter

Markus Büchler: Musik und ihre Psychologien

Günter Kleinen

Malcolm Budd: Music and the Emotions. The Philosophical Theories

Jörg Zimmermann

Rainer Dollase, Michael Rüsenberg und Hans J. Stollenwerk: Demoskopie im Konzertsaal

Klaus-Ernst Behne

Elisabeth Elstner: Hörerpostanalyse von zwei Rundfunkanstalten. Zuschriften zu Unterhaltungsmusiksendungen

Barbara Barthelmes

Edwin Gordon: Musikalische Begabung - Beschaffenheit, Beschreibung, Messung und Bewertung

Horst Ruprecht

Dietmar Gräf: Die Veränderbarkeit der Einstellung zur Musik und zum Musikunterricht durch Werkanalyse

Eberhardt Kötter

David J. Hargreaves : The Developmental Psychology of Music

Helga de la Motte-Haber

Eva-Marie Heyde: Was ist absolutes Hören? Eine musikpsychologische Untersuchung

Klaus Angermann

Vladimir Karbusicky : Grundriß der musikalischen Semantik

Reinhard Schneoder

Gerhard Klemm: Untersuchungen über den Zusammenhang musikalischer und sprachlicher Wahrnehmungsfähigkeiten

Günter Kleinen

Otto E. Laske (Hrsg) : CC AI The Journal for the integrated Study of Artificial Intelligence, Cognitive Science and Applied Epistemology

Günther Rötter

Karin Poppensieker: Die Entwicklung musikalischer Wahrnehmungsfähigkeit

Günter Kleinen

Rosalie Rebello Pratt (Ed.): The Third International Symposium on Music in Medicine, Education, and Therapy for the Handicapped

Heiner Gembris

Gilbert Rouget: Music and Trance. A Theory of the Relations between Music and Trance

Heiner Gembris

Walter Scheuer: Zwischen Tradition und Trend. Die Einstellung Jugendlicher zum Instrumentalspiel

Eberhard Kötter

Norbert Jürgen Schneider: Handbuch Filmmusik -Musikdramaturgie im Neuen Deutschen Film

Hans Emons

Josef B. Schörkmayr/Günther Witzany: Musik mit Behinderten. Das NO PROBLEM MUSIC-Therapiekonzept

Heiner Gembris

Walter Schurian: Psychologie ästhetischer Wahrnehmungen

Günter Kleinen

R. Spintge und R. Droh (Eds.) : Musik in der Medizin - Music in Medicine. Neurophysiologische Grundlagen, Klinische Applikationen, Geisteswissenschaftliche Einordnung

Marianne Hassler

The contributions in this section are available as a Collective PDF.

3. Jahrestagung der Deutschen Gesellschaft für Musikpsychologie

Katrin Siptroth