Sweet Anticipation: Music and the Psychology of Expectation

By David Huron. 2006

1,023 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology, Literature and Literary Theory

View Paper: https://www.semanticscholar.org/paper/82bbb440a5093498ed3e88f2e4134cc17cf2dbe8

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Citations in the corpus

Precise minds in uncertain worlds: predictive coding in autism. (2014, background): “In addition to leading to increased stress and anxiety, persistent significant prediction errors may actually by themselves generate negative affect (Huron, 2006; Van de Cruys & Wagemans, 2011).”
A Functional Taxonomy of Music Generation Systems (2017, background): “The narrative contributes to the emotion, tension, and/or story line perceived by the listener when listening to music [Huron 2006].”
Multi-timescale nexting in a reinforcement learning robot (2011, background): “When we hear a melody we predict what the next note will be or when the next downbeat will occur, and are surprised and interested (or annoyed) when our predictions are disconﬁrmed (Huron 2006, Levitin 2006).”
Music, biological evolution, and the brain (2010, background): “…mechanism, auditory expectation and its relationship to emotion may be a very general aspect of human cognition, not shaped for music but exquisitely exploited by music (see Huron, 2006, for a detailed theory, and Steinbeis et al., 2006, for empirical data linking musical expectancy to emotion).”
The Rewarding Aspects of Music Listening Are Related to Degree of Emotional Arousal (2009, background): “, expectancies) that are tightly connected to the pleasurable aspects of a given piece of music [5] and bottom-up processes (e.”
Music as a communicative medium (2009, background): “…to relate not so much to what unfolds musically as how the music unfolds, being experiential correlates of the music's temporal structure and bound up with processes of expectation and anticipation (see, e.g., Huron, 2006) or inhering in features of the musical surface such as melodic contour.”
From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions. (2013, background): “‘Aesthetic’ emotions (e.g., awe, admiration, wonder) also occur, but may be more rare (e.g., Gabrielsson, 2010, Huron, 2006).”
Universals in the world’s musics (2013, background): “Huron (2006) talks about dissonance as ‘the sensory irritation evoked by a vertical sonority’ (p. 312).”
The Role of Embodiment in the Perception of Music (2015, background): “Understanding music perception from the viewpoint of music cognition has had a focus on the anticipation of perceived structural components in music (Meyer, 1956; Huron, 2006; Honing, 2011).”
The emergence of music from the Theory of Mind (2009, background): “…Irish, Macedonian, Norwegian and African-American folk sounds and found that small intervals (those of 4 semitones or less) exhibit “tumbling melodies” (Sachs & Kunst, Page 20 of 48 1962), which as noted by Huron (2006) has long been known to linguists as “declination” (Cohen & t' Hart, 1967).”
A corpus analysis of rock harmony (2011, background): “Of course, ‘conventional wisdom’ is not always correct, but recent research has shown that, indeed, these rules are largely followed in common-practice composition (Huron 2006; Temperley 2009).”