Figure 1. Effect of advertisement tempo on perceived product speed. Perceived differences in perceived sneaker speed across tempo conditions and experiments on a seven-point scale (1 = much slower than average; 7 = much faster than average). Error bars represent +/- 1 standard error. More about this image found in Effect of advertisement tempo on perceived product speed. Perceived differe...

Figure 2. Effect of advertisement timbre on perceived product durability. Perceived differences in perceived laptop durability across timbre conditions and experiments on a seven-point scale (1 = much less durable than average; 7 = much more durable than average). Error bars represent +/- 1 standa... More about this image found in Effect of advertisement timbre on perceived product durability. Perceived d...

Figure 1. Conceptual model. More about this image found in Conceptual model.

Figure 2. Three phases of research. More about this image found in Three phases of research.

Figure 3. Research design including iterations. More about this image found in Research design including iterations.

Figure 4. Development of the participant’s mean level of excitement at four measuring points during the concert (based on 11 participants, given that two participants didn’t receive all notifications because of connectivity problems during the concert). More about this image found in Development of the participant’s mean level of excitement at four measuring...

Figure 5. Development of all participant’s valence at four measuring points during the concert in relation to: the performing artist (5a), the audience/crowd (5b), the place/physical setting (5c), the social company (5d) and the participant him/herself (5e) (based on 11 participants). More about this image found in Development of all participant’s valence at four measuring points during th...

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Figure 1. Schematic overview of the methods. (A) Stimulus extraction: Short excerpts from the open source “medleyDB” multitrack database were used. Songs were drawn randomly without replacement. From each excerpt, two signals were extracted: One signal containing only the target signal, another si... More about this image found in Schematic overview of the methods. (A) Stimulus extraction: Short excerpts ...

Figure 2. Frequency modulation analysis. To quantify the change in frequency micro-modulations between the original lead vocals, their pitch-quantized counterparts and their pitch-quantized counterparts with added frequency micro-modulation (FMM), the extracted f0 trajectories were transformed to ... More about this image found in Frequency modulation analysis. To quantify the change in frequency micro-mo...

Figure 3. Detection accuracies for Experiment 1. Six instruments and two vocal categories were used as targets. Each instrument category was used twice either using the instrument track which was present in the excerpt (acc) or replacing the lead vocals in the excerpt by MIDI instruments using the... More about this image found in Detection accuracies for Experiment 1. Six instruments and two vocal catego...

Figure 4. Detection accuracies for Experiment 2. Six instrumental and two vocal categories were used as targets. Each instrument category was used twice either using the instrument track which was present in the excerpt (acc) or replacing the lead vocals in the excerpt by MIDI instruments using th... More about this image found in Detection accuracies for Experiment 2. Six instrumental and two vocal categ...

Figure 5. Influence of frequency micro-modulations. (A) Detection accuracy in selected conditions from Experiment 1 ( x -axis) and Experiment 2 ( y -axis): Two-dimensional error bars indicate 95% confidence intervals. Note that for the presented target categories, average accuracies in the “Mixtur... More about this image found in Influence of frequency micro-modulations. (A) Detection accuracy in selecte...

Figure 1. Visualization of the unsigned (top) and signed (bottom) accuracy scores for the two pieces of music. The y -axis represents the score that a participant receives when specifying the bpm on the x -axis. The vertical reference lines indicate the target tempo: 62 bpm for the piece Air (le... More about this image found in Visualization of the unsigned (top) and signed (bottom) accuracy scores for...

Figure 2. Differences between individuals with high ( n = 55) and low musical expertise ( n = 56) in accuracy at the first session and on average at the other sessions for the tempos of both pieces (white = Stayin’ Alive, grey = Air). More about this image found in Differences between individuals with high ( n = 55) and low musical expert...

Figure 3. Stability of musical tempo memory of individuals with low ( n = 56) and high ( n = 55) musical expertise. More about this image found in Stability of musical tempo memory of individuals with low ( n = 56) and hi...

Figure 4. Differences between professional ( n = 30) and amateur ( n = 31) musicians in tempo accuracy (left) and stability (right). More about this image found in Differences between professional ( n = 30) and amateur ( n = 31) musician...