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.

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.

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.

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.

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.

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.

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.