This is part of a report about a video-experiment with a "prelude" of C.Debussy (Vol.1, Nr.IX) . N =2 62 subjects appreciated the same piece of music under five conditions: one audio and four different video versions. Under all conditions subjects rated their listening impressions by the aid of a (unipolar) semantic differential. Judging from the results of previous experiments considerable effects of the videos were not to be expected ("perceptual constance") . Results showed beside other things that only in the case of one very spectacular video, the listening impression changed as an effect of the video. Subjects reported very intense and diverging visual fantasies in the audio-condition, the contents being related to their evaluation of the music. In the course of the 90 minute-experiment two important learning processes emerged: "irritation" toward an unusual media genre was diminished, young students and musically inexpert adults tended to evaluate the music more positive as an effect of hearing and seeing the music more than one time.

The experimental study investigates the influence of the visualization of music on its emotional perception - testing pop-videoclips - and tries to interprete the results in terms of Berlyne's theory of the experimental aesthetics. The differences in coherence between the elements of musical and visual structures in different styles of rock-music lead to different increases in the complexity-ratings of the videoclip. this increase in complexity of the videoclip is joined with higher activity-scores and lower preference. The results point out, that the perception of videoclips is a perception of maybe two kinds of informations.(acoustical and visual) and therefore of more than the preferred amount of information. On the other hand it might be a perception of a new kind which exceeds the now known, familiar and therefore most preferred level of uncertainty. The effect of these collative variables on the activity and pleasureness is consistent with Berlyne's postulation. lt seems that the more complex or new and therefore active perceived videoclips exceede the peak of the inverted u-shaped function of pleasureness and complexity. This effect is mainly determined by female persons who don't like the information-increase of typical videoclips but the better known narrative filmrelated style. A specific, sex-concemed view at the data shows that men prefer rockperformances of men; their preferences are determined by identification with the singer. They only like female-performances, when the femals star exposes her sexual attraction. This is why women don't like videoclips of that kind. They primarily prefer male-performances. This suggests a kind of attraction-based female rock-perception.

The study shows that musical reception of 7- to 8- year-old children is largely independent of medial presentation. Such a dependence could be proved only for categories of association. If the pictorial and the musical levels of a "classical" musical video do not correspond to each other, children of this age have great difficulties in understanding. Nevertheless the children perceived the music in such a video as a unity: they noticed the constancy of the music despite the changing pictures.

A concept of musical self-socialization as a theory of musical learning over the lifespan is presented. The concept's theoretical background in symbolic interactionism is outlined. The theoretical development in socialization theory is viewed as a paradigm shift which parallels theoretical changes in both mass media research and study of popular culture. Adolescents' use of music and music video is conceptualized as an important part of identity construction. This includes the concept of the individual's choice of socializing environments. Modern societies which are not homogenous but culturally differentiated offer options of membership in different musical subcultures and of corresponding lifestyles which define themselves by musical style and the way to use music. Thus cultural identity and ways to present identity become a matter of individual choice. Individuals socialize themselves by choice of membership in cultures and efforts to become familiar with the chosen symbol systems. These are the cultural codes which ascribe social meaning to aesthetical objects like popsongs or music videos. Examples from present youth cultures, HipHop and Skinhead culture, are given.

This is a report about an intercultural investigation of emotional expression and aesthetic evaluation of music. First theories of musical expression are discussed in respect to the explication of intercultural aspects of music experience. Secondly, a report is given about two experiments which the author similarly conducted with German and Chinese students. In the first they had to estimate on a rating scale, how adequately certain emotional and evaluating categories could be used in the interpretation of European art music and Chinese folklore pieces. In the second they had to invent stories inspired by examples of European and Chinese music. The results indicate a general consistency in describing the emotional categories, expressed by the music; but at the same time there are marked, statistically significant differences in emotional expression and more extensively in aesthetic evaluation. Associations and projections attached to the music of different cultures reveal that there exist common, interculturally understandable meanings of music, but also that the considerable differences in the use of words, image schemes, and metaphers. These are cultural symbols, and we need a better understanding of the symbols of any strange culture to which we come into contact.

The concept of orientation intends to integrate cognitive, emotional, sensumotoric, and social aspects of music listening. For to understand the psychological processes of music experience it is necessary to take into account the subjective functions and meanings of music. One of the most important gratifications provided by music listening is the (temporary) satifisfaction of a fundamental need of orientation and security. Orientation can be mediated by cognitive, emotional, sensumotor and social aspects of music listening. Based on physiological facts, it is argued that the sensumotoric processes of music perception are pre-cognitive and fundamental for emotional experience of music. The relation of the suggested concept of orientation to the psychology of art developed by Kreitler & Kreitler (1980) is discussed.

A research strategy for evaluating the artworld experts' claims was first reviewed. A number of experiments were then described which had been designed by the authors to test the alleged effects of musical structure on the hedonic and emotional responses of various categories of research participants. Some of the pieces examined were Beethoven's sonatas and quartets, Bach's "Goldberg Variations" , and Mozart's KV 550. No empirical support was obtained in the various studies for the notion that either global or local structure, as conventionally defined, influenced the subjects' ratings of the masterpieces on an array of hedonic, emotion-related, and cognitive judgment scales. The significant effects that were found were subtle, complicated, and unexpected. Various explanatory possibilities were discussed in detail.

The study reported deals with the question if and how judgement on a piece of music varies if a) the style of music is known or not known ("bekannt/ unbekannt") by the listener; b) the listener is weil acquainted or not acqainted ("vertraut/nicht vertraut") with the style of music. lt was found that if the style of classical music is known the classical piece of music presented to the listeners is being judged upon positively. lf it is not known the judgement on esthetic and descriptive scales is less positive, judgement on affective scales is negative. In jazz music there was hardly any influence of "Bekanntheit" (knowing a style) to be found, in pop music "Unbekanntheit" (not knowing a style) results in a less positive judgement. Even more obvious is the influence of acquaintance ("Vertrautheit") with a musical style: In jazz and classical music it causes a positive emotional relation, while not being acquainted with this style of music results in a negative emotional attitude towards the piece. If persons were acquainted with pop music a more positive judgement towards almost all scale types was to be found. Acquaintance with jazz music results in a more positive esthetic judgement, in classical music non-acquaintance causes a slightly negative judgement. Musical education should therefore benefit, if music of a style pupils are acquainted with is selected - the listeners' attitude will a priori be more positive. To gain acquaintance with music of all styles it seems to be necessary to deal with all kinds of music, traditional and contemporary as weil as ethnic, in elementary schools' musical education by listening and doing and to continue in that form in secondary or high schools.

In contradiction to former investigations no influence of background music on shopping behaviour was found: sales do not increase, no change of the shoppers' mood is caused by music, and there is no influence on the time spent in the shop. When there is no music in the shop people more often say that they bought more than they planned.