Normally, daily life-perception is based on multi-sensory information. Never­theless information processing is only studied for single modalities. There is a comparable separation in traditional art which normally refers only to one sensory modality. Recently as well in science as in art production the situa­tion has changed. The paper intends a summary on audiovisual perception and its relevance for art. Results on audiovisual perception are presented which contradict the widespread conviction that the eye is the dominant sen­sory modality.

In the context of a longitudinal study 150 adolescents were asked first at the age of 12 and later at the age of 16 to name colours corresponding to the five vowels.They were also asked to scale the brightness of the respective colours and to state, how stable they expected their colour-vowel-assignments to be. Comparison of the two inquiries showed that the colour-vowel-assignments were of varying stability, most pronounced in the case of A, less so for U. The pattern for the most frequently assigned colours for each vowel in both inquiries was quite constant over time. Brightness as a tertium comparationis between colours and vowels could partly explain the assignments.A hypothesis about the varying relevance of brightness depending on the stability of the colour-vowel-assignments was not confirmed. Future research has to continue to differentiate between syn­aesthesia (sensu Cytowic) and intermodal analogy (H. Werner).

In this paper, sight reading excellence is reviewed as an example of inter­ modal perception, and more than just visual perception. Eye-hand span in sight reading has been investigated, but this is not enough to predict sight reading achievement. Inner hearing being a significant predictor for sight reading achievement has been discussed in previous studies, but the weak­nesses in the experimental design and the difficulty in assessing sight reading performance have made the validity of the findings questionable. In this study, 52 pianists participated in an experiment which consisted of five lev­ els of sight reading complexity and five inner hearing tasks. Pre-recorded pacing melody paradigm was used for the sight reading stimuli, while the embedded melody paradigm, using the same-different forced choice paradigm, was used for the inner hearing test. Sight reading performance was as­sessed with software that compares the performance by the subject to a "perfect" recording within the defined time window. The number of matched, mismatched and extra notes for both hands was determined by the software. Correlation analysis results show that sight reading achievement and inner hearing do have a significant correlation. Speed-related factors play an im­portant role in inner hearing, which in turn has an effect on the sight reading achievement. Sight reading excellence is determined by closely related use of the eye, ear and hand.

The shimmering correspondences between music and perfume constitute the principal subject of the present theoretical paper which was part of a presentation of the German Society of Perfumers within the context of the 48th congress of the Confederation of Soap, Perfume and Detergent Experts (SEPAWA) 2001. One starting point to analyse the correspondences between music and perfume is the language: terms such as tone, note or chord are used both in the language of perfumers and in music. Since the late 19th century, some composers have used the idea of fragrances or perfumes as musical theme. The paper points out that the common ground between fragrance and music is best characterised by the concept of atmosphere. Atmospheres arise from a synthesis of perceptions originating from different sensory channels. These perceptions have to show certain intermodal correspondences. An advantage of the atmosphere concept is that it permits the discussion about the relations between music and scents to be integrated into aesthetics as well as into per­ceptual psychology and research on the effects of music listening. Based on empirical studies, some insights into the effects of music and scents are presented which are also significant for domains such as marketing and consumer research.

Neither in literature nor in practice are there any doubts that the performance of an orchestra depends on the respective conductor. Despite this fact, leadership behaviour in an orchestra was rarely systematically investigated. Against this background we summarize selected findings from empirical research on leadership and cooperation within orchestras. In our investigations, we deal with the conductor's way to lead the musicians. Also, we analyze the cooperation within German orchestras, and take a look at how these aspects in­fluence the artistic quality. Starting from the fact that about half of the polled musicians think about the orchestra's artistic quality as a success variable that needs improvement, we identify ways to enhance the artistic quality. On the one hand we deal with cooperation within the orchestra, and on the other hand we investigate the kind of the conductor's leadership. Cooperation among the musicians (playing together exactly) is a crucial factor for creating high artistic quality. The reason for this lies in the specific quality-related requirements of an orchestra. Furthermore, the conductor's leadership behaviour can improve artistic quality, especially an authoritarian leadership behaviour. This way of leading diminishes the musician's degrees of freedom indeed. However, they accept it due to the charismatic legitimation of the conductor's au­thority. This serves as an explanation for the effectiveness of authoritarian charismatic leadership in orchestras. In doing so, the conductor's authority can depend on different power bases. Comparing the functionality of differ­ent power base adoptions with linear structural equation modelling shows that artistic quality can be enhanced particularly through the combination of both expertise and identification power. Less important in terms of quality are information power and position power. Completely ineffective for raising artistic quality is power based on immaterial or material reward or punish­ment. From these results, we derive practical consequences for leadership in orchestras.

This survey investigates job-satisfaction of 467 musicians of German culture orchestras. All in all the orchestra musicians were quite satisfied with their work in the orchestra: The general job-satisfaction of about 77 percent of the musicians was high. However, with job-components like for example "promotion opportunities", "effectiveness of rehearsals", "public relations" and aspects concerning the conductor (feedback, authority and artistic competence) the musicians showed less satisfaction. Surprisingly the analysis of regression did not prove that satisfaction with the conductor influences general job-satisfaction significantly. However, satisfaction with the conductor correlates significantly with the experience of flow, with stress and with phy­sical problems: The more satisfied one musician was with the conductor the more often she/he experienced flow, and the less she/he experienced stress and physical problems.

One central element of musical expression is its potential to induce emotions in the listener. The present study investigated the perceived emotional specificity of pre-selected pieces of classical music rated by listeners with pro­ found musical education. The pieces had been selected for the representation of happy, sad, angry, fearful, and peaceful expressions. Twenty-five musical excerpts were presented in a randomized order to a group of music students five corresponding scales. The results showed a high degree of agreement between the ratings of expressions and the emotional categories assigned a priori to the excerpts. Yet, the discrimination of sad and peaceful as well as angry and fearful expressions was less selective than that of these and the other emotions. In agreement with earlier findings, the results confirm the assumption that the perception of music is linked to different emotion systems. The application of the evaluated stimuli for the induction of emotions is discussed.

Children usually do not sing songs perfectly. Rather, children's singing is in a process of gradual assimilation to the "musical target language" much as in language development. Our research investigates what happens if text and melody have to be retrieved simultaneously in elicited song reproduction.For this purpose, we conducted a cross-sectional study with longitudinal additions with 86 kindergarten children in two age groups. The children were asked to sing certain songs as part of a board game. The children showed more compliance to non-singing tasks than to singing tasks of the game. We assume that self-rating emotions exert a considerable influence on children's behaviour in face of the request to sing alone. Our results concerning text and melody reproduction of one of the songs are presented. The six-year-old children were more often able to render a complete reproduction of the song than the three- to four-year-old children. For the younger children, the phonetic and rhythmic elements of speech seem to be more important than coherence of meaning. In both age groups musical competence is less developed for tonal stability and melody contour than it is for the rhythm and metre of a song. Children with a great uncertainty in their reproduction of lyrics and tune often revert to rhythmic speaking.