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Musical Expectancy

Musical Expectancy. Definition of expectancy “Expectancy” refers to the idea that an antecedent event, or set of events, implies or anticipates a subsequent event or set of events

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Musical Expectancy

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  1. Musical Expectancy • Definition of expectancy • “Expectancy” refers to the idea that an antecedent event, or set of events, implies or anticipates a subsequent event or set of events • In music, this means that a given musical event or passage implies or anticipates an upcoming musical event or passage • Impact of expectancy formation/realization • Relation between expectancy formation and the apprehension of musical emotion and meaning • Impact of expectancy formation on perceptual and cognitive processing of music

  2. Musical Expectancy ? Basic expectation

  3. Musical Expectancy • Questions about the process of expectancy generation and realization • The factors underlying the formation of musical expectations. What processes give rise to the formation of expectancies, and influence the content of these expectations • The subsequent implications of expectancy realization on musical processing, including basic responses to music, guiding of attention, memory for music, and so on.

  4. The Formation of Musical Expectancies The Expectancy Region (Jones, 1976)

  5. The Formation of Musical Expectancies Gestalt principles Melodic processes (Meyer, 1973) Gap-Fill Pattern ┌───┐ ? Linear Pattern Expected Note:

  6. The Formation of Musical Expectancies The 1st eight measures of Schumann’s “Du Ring An Meinen Finger,” Op. 42 Schmuckler (1989)

  7. The Formation of Musical Expectancies Schmuckler (1989) Probe Position 1: Context: Trial 1: ↑ Continuation Tone Trial 2: ↑ Continuation Tone

  8. The Formation of Musical Expectancies Schmuckler (1989) Probe Position 2:  Context: Possible Continuation Tones:

  9. The Formation of Musical Expectancies Schmuckler (1989) Beta weights for tonal structure, melodic contour, and melodic process

  10. The Formation of Musical Expectancies The Implication-Realization Model (Narmour, 1990, 1992) • Registral Direction – small intervals imply melodic continuation in the same direction, whereas large intervals imply a reversal of direction • Intervallic difference – small intervals imply similarly sized intervals whereas large intervals imply smaller intervals • Registral Return – refers to cases in which the second tone of a realized interval reverse pitch direction, thus producing approximate symmetry in patterns • Proximity – there is a general preference for small realized intervals • Closure – closure occurs when a melody changes direction or when a relatively smaller realized interval follows a larger implicative interval

  11. The Formation of Musical Expectancies Quantification of Narmour’s Implication-Realization Model Schellenberg (1996)

  12. The Formation of Musical Expectancies Simplification of Narmour’s Implication-Realization Model Schellenberg (1997)

  13. The Formation of Musical Expectancies Harmonic expectancies Schmuckler (1989) Predictions based on Piston’s (1978) Table of Usual Root Progressions

  14. The Formation of Musical Expectancies Harmonic expectancies Schmuckler (1989) Comparisons of harmonic expectancy ratings

  15. The Formation of Musical Expectancies Combined (melodic and harmonic) expectancies Schmuckler (1989) Beta weights for melodic and harmonic factors

  16. The Consequences of Musical Expectancies The Harmonic Priming Paradigm Bharucha & Stoeckig (1986, 1987) Related Context: Unrelated Context:

  17. The Consequences of Musical Expectancies Processing of harmonically related and unrelated chords Bharucha & Stoeckig (1986)

  18. The Consequences of Musical Expectancies Harmonic context and phoneme monitoring Bigand, Tillman, Poulin, D’Adamo & Madurell (2001)

  19. The Consequences of Musical Expectancies Harmonic context and phoneme monitoring Bigand, Tillman, Poulin, D’Adamo & Madurell (2001)

  20. The Consequences of Musical Expectancies Expectancy and memory Schmuckler (1997)

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