Topics in Cognitive Science 4 (4):625-652 (2012)
Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond
|Keywords||Aesthetics Expectation Creativity Pitch Prediction Probabilistic modeling Musical melody Segmentation|
|Categories||categorize this paper)|
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Citations of this work BETA
Implicit Learning and Acquisition of Music.Martin Rohrmeier & Patrick Rebuschat - 2012 - Topics in Cognitive Science 4 (4):525-553.
Predictions and the Brain: How Musical Sounds Become Rewarding.Valorie N. Salimpoor, David H. Zald, Robert J. Zatorre, Alain Dagher & Anthony Randal McIntosh - 2015 - Trends in Cognitive Sciences 19 (2):86-91.
Predictive Uncertainty in Auditory Sequence Processing.Niels Chr Hansen & Marcus T. Pearce - 2014 - Frontiers in Psychology 5.
Toward a General Psychological Model of Tension and Suspense.Moritz Lehne & Stefan Koelsch - 2015 - Frontiers in Psychology 6.
Musical Pluralism and the Science of Music.Adrian Currie & Anton Killin - 2016 - European Journal for Philosophy of Science 6 (1):9-30.
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