In Jerrold Levinson (ed.), Oxford Handbook of Music and Philosophy. Oxford: Oxford University PRess (forthcoming)

Jenny Judge
New York University
Bence Nanay
University of Antwerp
Almost every facet of the experience of musical listening—from pitch, to rhythm, to the experience of emotion—is thought to be shaped by the meeting and thwarting of expectations. But it is unclear what kind of mental states these expectations are, what their format is, and whether they are conscious or unconscious. Here, we distinguish between different modes of musical listening, arguing that expectations play different roles in each, and we point to the need for increased collaboration between music psychologists and philosophers in order to arrive at a more detailed characterisation of conscious musical experience and the role of expectations therein.
Keywords Expectations  Attention  Auditory imagery
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