Historical, acoustic and psychological aspects of the topic "music and time perception" will be discussed. The theory of the "metric" interpretation of tempo indications by means of pendulum or metronome by Willem Retze Talsma (1980), which postulates a so to speak widespread misinterpretation of tempo indications from the 18th and early 19th century and justifies this with a change in the experience of time as a result of industrialisation, raises many questions. These concern, for example, the history of physics (concept of vibration), room acoustics (historical concert halls), interpretation research and music psychology. These questions will be investigated on the basis of traditional performance durations, room-acoustic data of historical concert halls and comparisons of historical and contemporary performance tempos. Furthermore, theories of time perception will be discussed. Experimentally obtained data show that multiple listening to (previously) music unknown to a listener, even the inner imagination of music, can lead to very precise ideas about the optimal performance tempo. Such comparatively limited tempo preferences of listeners and a high observable constancy in the choice of performance tempo of performers are contrasted by a strong contextual dependency of the experience of duration both in the short term (rhythm) and in the long term. Moreover, there are acoustic illusions in the perception of rhythm, which are also effective with knowledge of the principle of illusion. This points to different processing of temporal processes in the human brain. Older models of an internal timer ("clock") cannot sufficiently explain the various observable phenomena. On the other hand, the relationship of time perception to action planning and body perception (interoception) seems to be stronger than previously assumed according to recent research results. [*]

Since the exploration of distortion as a means of expression in the 1950s, the electric guitar has become a primary instrument in popular music, especially in rock and metal music. Despite this development, there is little musicological research on the use and perception of distorted guitar chords. This work aimed at exploring the influence of distortion on guitar chord structures, at identifying acoustic features potentially causing dissonance and at finding explanations for the common use of simple chords in rock and metal music genres. The research followed a two-step experimental design. Based on Terhardt's (1984) and Aures' (1985) two-component framework of musical consonance, the main study sta­tistically evaluated acoustic characteristics of 270 electric guitar chords produced with different sound settings, instruments and amplifiers. In a second step, data of a listening test with 171 participants were triangulated with the acoustic results for considering the perceptual perspective as well. The findings largely confirmed distortion to decrease sensory pleasantness especially for complex guitar chords. The parameters of sensory consonance of the underlying framework, measured with the MIR-Toolbox, and the Loudness-Toolbox, strongly correlated with the listeners' perceptions. Surprisingly, roughness as the key criterion for dissonance in Helrnholtz' (1863/1913) tradition was found the least reliable variable for explaining decreased sonority of distorted guitar sounds.

In our study we focus on perception and mental representation of musical styles in recipients using black metal music. Instead of an exclusively fan-centered approach, differences in listening experience, musical expertise and music preference of recipients were taken into account. An online questionnaire with sound examples was used to collect situational judgements from a German sample (N=764). Niketta's study (1990) concerning prototypicality of rock music served as a model. Using a primarily exploratory research approach we aimed for a critically revised partial replication. Comparisons with Niketta's results make the generation of hypotheses possible and facilitate further re­ search. More evaluations of our data were already reported in Hantschel and Bullerjahn (2016).

In the present study typical sound properties of 200 audio logos are determined by means of (psycho-)acoustical and musical analyses. While using the results of an audio feature analysis via MATLAB/MIRtoolbox most audio logos can be as­signed to a specific sector or branch of industry. The parameters spectral centroid and first attack time are especially suited to determine correlations between sound properties and branches of industry. In other words: In many cases the sound of an audio logo can be connected directly to its industry affiliation. On that base the results of the study can be used in the field of audio branding to design characteristic and custornized audio logos for selected branches of industry.

One of the main questions of audio-visual quality perception is what influences the receptive overall impression. While video quality has the highest impact on audio-visual quality assessment across all video genres, research showed that audio quality is more influential in music videos compared to other video genres. The present study investigated the extent to which unimodal qualities influence the perceived audio-visual quality as well as mutual influences of the unimodal qualities by using three professional music videos. Participants evaluated the subjectively perceived audio and video quality in addition to a combination (audio-visual quality). Results show that the quality of both modalities influenced the audio-visual quality sirnilarly and is not dorninated by the video quality. Furthermore, the perceived audio quality was affected by the video quality but not vice versa. In other words, participants' judgments were not influenced by the simultaneously presented audio quality when judging video quality, yet they were influenced by the video quality when judging audio quality. This indicates that in music videos the perceived audio quality is more strongly influenced by the video quality than vice versa.

This study describes the individual performance experience of music students in the context of situational factors, individual style of performance preparation and biographical development. In a sample of students in non-artistic music education programmes (N= 62) 91.9 percent of respondents reported short term variations in performance experience, depending on conditions of the performance as ensemble(size), audience size, performed piece of music, preparation intensity and performance context. The long-term performance experience is described by 38.7 percent of the subjects to be stable, while 61.3 percent of the respondents reported changes in the performance experience in the course of their musician's biography. Seven subjects were identified as "Positiv-Perform­er" and 17 subjects as "Negativ-Performer" by means of a qualitative-quantita­ tive questionnaire. Significant differences between these two groups relate to the anticipation of performances and the need to get more help for the optimal preparation of performances. In total, 54.8 percent of respondents stated to be interested in a course for preparing performance situations. This shows a sig­nificant need to catch up towards artistic music education programs with regard to the integration of such teaching offers in the course of study.