Sweet Anticipation: Music and the Psychology of Expectation, by David Huron . Cambridge, Massachusetts: MIT Press, 2006

By Catherine J. Stevens, Timothy P. Byron. 2007

661 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/250386e694a4de4f3ee03decfc5cc32a80247169

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In Cognitive Neuroscience

Citations in the corpus

On Musical Dissonance (2012, background): “Tonality affects the perception of music (e.g., Huron, 2006; Krumhansl, 1990; Krumhansl & Toiviainen, 2003), and the apparent failure of psychoacoustics to account for the dissonance of triads has led many theorists to argue that dissonance depends on both psychoacoustic and tonal dissonance (e.g.,…”
Emotional and motivational uses of music in sports and exercise: A questionnaire study among athletes (2013, background): “…such answers could instead refer to the musical expectancy mechanism which refers to a process whereby an emotion is induced in the listener because features of the music violates, delays, or confirms the listener’s expectations about the continuation of the music (e.g., Huron, 2006; Meyer, 1956).”
Chills in different sensory domains: Frisson elicited by acoustical, visual, tactile and gustatory stimuli (2011, background): “Finally, David Huron suggested that chills might be related to threatening gestures, such as when a cat bristles its fur, and other fight and flight responses (Huron, 2004).”
The neuroaesthetics of music. (2013, background): “Huron (2006) suggests that contrastive valence may also be capable of generating pleasurable experiences of awe and laughter as well as chills although these claims await detailed neuroscientific study.”
The effects of expectation on the perception of soundscapes (2014, background): “expectation to a cliché; a stereotype for a context or situation [21].”
Playing together without communicating? A pre-reflective and enactive account of joint musical performance (2015, methodology): “…line with the long tradition in empirical musicology of positing mental representations (Acotto & Andreatta, 2012) as fundamental explanatory tools (Huron, 2006), and provides the previously-described research methodology (based on physiological responses) with the second part of the equation;…”
Current Emotion Research in Music Psychology (2015, background): “One view holds that the experience of emotion depends on whether culturally learned musical expectancies are fulfilled or violated (Huron, 2006; Meyer, 1956), which implies that listeners should exhibit biases favoring the music of their native culture.”
Audio-visual integration of emotional cues in song (2008, background): “For example, sensitivity to happy and sad facial expressions may occur through innately determined processes, whereas emotional interpretations of major and minor intervals is thought to emerge through learning (e.g., Huron, 2006).”
The evolutionary neuroscience of musical beat perception: the Action Simulation for Auditory Prediction (ASAP) hypothesis (2013, background): “Prominent theories of music cognition have long postulated in an intimate relationship between expectation and emotion in music perception (e.g., Meyer, 1956; Huron, 2006).”
Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres (2011, background): “…as it is related to aspects in the overall communication of emotions such as their perception or induction (Juslin & Västfjäll, 2008), models of emotions (Eerola & Vuoskoski, 2011), the personalities of listeners (Kallinen & Ravaja, 2004), and musical expectations (Huron, 2006).”
Audio Features Underlying Perceived Groove and Sensorimotor Synchronization in Music (2016, background): “…locations and the sounding of events at weak metric locations, inherently plays with our temporal expectations and has been postulated to underlie our affective responses to music (Fitch & Rosenfeld, 2007; Huron, 2006), as has been recently shown (Keller & Schubert, 2011; Witek et al., 2014).”
Musical creativity and the embodied mind (2018, neutral): “These are continuously shaped by a range of social, biological, developmental, cultural, and historical factors (Clarke, 2005a; Cook, 2001; Cook & Everist, 1999; Cross, 2012; DeNora, 2000; Huron, 2006; Krueger, 2011, 2013; Small, 1998).”
Why is sad music pleasurable? A possible role for prolactin (2011, background): “Brain research suggests a broad distinction between automatic subcortical responses mediated by cognitive cortical responses (e.g., LeDoux, 1996; see Huron, 2006, Ch. 2 for a musically pertinent exposition).”
Machine Recognition of Music Emotion: A Review (2012, background): “Motivated by the fact that emotion perception is in.uenced by personal factors such as cultural background, generation, sex, and personality [Huron 2006], Yang et al. proposed a fuzzy approach that measures the strength of each emotion in association with the song under classi.cation and…”
Feelings and Perceptions of Happiness and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions (2010, background): “For many years, scholars have speculated that music is the language of emotions (e.g., Brown, 2000; Huron, 2006; Maslow, 1976; Meyer, 1956; Mithen, 2006).”
A Theory of Tonal Hierarchies in Music (2010, methodology): “He stresses the adaptive value in evolution of being able to anticipate frequently occurring events (Huron 2006, p. 357).”