Music and the Psychology of Expectation

Home , Cello Suites (Bach), Peter Schickele

Sweet Anticipation

David Huron

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Library of Congress Cataloging-in-Publication Data

Huron, David. Sweet anticipation : music and the psychology of expectation / David Huron. p. cm. “A Bradford book.” Includes bibliographical references (p. ) and index. ISBN 0-262-08345-0 (hc : alk. paper) 1. Music—Psychological aspects. 2. Expectation (Psychology). I. Title.

ML3838.H87 2006 781′.11—dc22 2005054013

10 9 8 7 6 5 4 3 2 1 Index

Aarden, Bret, 50–51, 75, 78, 88, 118, 148, Aldwell, Edward, 382 150–153, 162, 172, 360 Alla turca, 215 Abandoned cadence, 335 Allemande from Partita for solo ﬂ ute (BWV Abdul Aziz el Mubarak, 213 1013), J. S. Bach, 182 Abecasis, Donna, 195, 201, 207, 397 “Alphabet Song,” 262 Abraham, Otto, 111, 387 American Indian. See Native American music Absolute pitch, 110–113, 125, 364 American music, 74, 116, 229, 234, 387 disadvantages of, 112 Amnesia, 220, 225 pitch unlearning theory of, 111 Anatomy, 369 Adagio from Quodlibet for Small Orchestra, An den Wassern zu Babel, Arvo Pärt, 236 Peter Schickele, 276 Andriessen, Louis, 391 Adams, John, 351 Anticipation, 245, 306, 358 Adorno, Theodor, 239, 352 feeling of, 306 Aesop, 30 hypermetric, 247 Aesthetics, 167, 364, 373 Appoggiatura, 285 contrarian, 333, 350–353 Appraisal response, 14, 359 deﬁ ning a musical genre or work, 263–264, Arch, melodic, 85 363 Aristotle, 29, 131 Africa Aron, Arthur, 135, 136 Limpopo, 171 Asavari, 205 western, 188, 201, 215 Ashley, Patricia, 403 drumming, 215 Aslin, Richard N., 67, 69, 71, 183–184, 361, African-American folk songs, 76 388, 397, 407 Agogic syncopation, 296 “At the Hop,” Danny & the Juniors, 248–249 Ahlen, Albert, 263 Auditory learning, 59 Aiken, Nancy, 383 Auditory representation, 127 Aksak meters, 187 Austin, William, 403 “Alabama Woman Blues,” Leroy Carr, 263 Australia, 76, 215 Albanian music, 74, 76 aboriginal music, 86, 389 Alberti, Domenico, 256 didgeridoo, 215 Alberti bass, 256 Austrian, 188 450 Index

“Ave Maria,” Charles Gounod, 263 Betting paradigm, 47 Awe, 31, 288, 362 Bharucha, Jamshed J., 128, 168, 170, 213, 224, 226, 228, 306, 381, 392, 394–395, 399, “Baa, Baa, Black Sheep,” 262, 264 404, 407 Babbitt, Milton, 236 Bigand, Emmanuel, 381 Bach, Johann Sebastian, 149, 154, 156, 182– Big Bear (Steve Emory), 215 183, 214, 226, 234, 256, 263, 265, 271, 286 Binary meter bias, 195, 360 Bach, P. D. Q. See Schickele, Peter Binding, 124 Bach Meets Cape Breton, 213 Birk, Jeffrey, 128, 392 Backbeat, 248, 250 Blain, Efﬁ e (Tsastawinahiigat), 395 Baldwin, James M., 62, 387 Blinking, 306 Baldwin effect, viii, 60, 62, 104 Blood, Anne, 34, 384 Balinese, 47–48, 156, 168–172, 174, 242 Bluegrass, 229 Balkan, 201 Blues, 205 Balkwill, Laura Lee, 381 “Blue Skies,” Irving Berlin, 248, 400 Ballade, Brahms, 235 Bolero, Ravel, 258 Bandura, Albert, 23, 383 Boltz, Marilyn, 381, 397 Barcarolle from Tales of Hoffmann, Jacques Bon Jovi, 252 Offenbach, 321–322 Boomsliter, Paul, 75, 388, 398 Barlow, Harold, 397, 401–402 Bornstein, Robert, 133–135, 392–393 Baroque dance suites, 214 Boulez, Pierre, 331–332, 391, 405 Baroque violin, 214 Bradycardic response method, 50 Bartók, Bela, 182, 332 Brahms, Johannes, 235, 259–261 Bass, Richard, 403 Braque, Georges, 332 Bayes, Thomas, 194, 210, 387 Bridal Chorus from Lohengrin, Richard Beatles, the, 213 Wagner, 223 Beethoven, Ludwig van, 35, 215, 223, 234, Brochard, Renaud, 195, 201, 207, 397 255–256, 263, 276–280, 286–287, 303, Broken record effect, 286 319–320 Brouillard, Mary E., 23, 383 Beijing opera, 211 Brower, Candace, 396, 398 Bellman, Jonathan, 215, 394, 398 Brown, Helen, 394, 405–406 Benjamin, William, 396 Browne, Richmond, 405–406 Bennett, Kevin B., 43, 385 Bruckner, Anton, 347 Berg, Alban, 406 Bruner, Cheryl, 121, 351 Berger, Jonathan, 382 Budge, Helen, 401 Berlin, Irving, 248, 400 Bulgarian music, 74, 76, 187 Berlitz, Charles, 205–206, 398 Aksak meters, 187 Berlitz, Maximilian, 205 Bürger, Peter, 405 Bernard, Claude, 370–372 Burgess, Thomas, 133 Bernard, Jonathan, 391 “Buried Alive in the Blues,” Janis Joplin, Bernatzky, Gunther, 34 250 Berry, Chuck, 234 Burke, Edmund, 25, 383 Berry, Wallace, 396 Butler, David, 391, 394, 399, 405–406 Index 451

Cadence Comedy, 283 abandoned, 335 Concerto for Horn and Hardart, Peter Schickele, deceptive, 271 285–286 jazz, 155 Concerto op. 24, Anton Webern, 348 Landini, 154 Conditional probability, 55 Magyar, 155 Conscious expectations, 235, 326 Cadential 6–4, 155 Consonance/dissonance, 310–312, 324–325, Cage, John, 241, 332, 351, 366 404 Calvin, William, 108, 391 Context cueing, 204 Calypso, 211, 228 Contingent frequencies, 67 Cape Breton fi ddling, 214 Contracadential, 334 Caplin, William, 338, 405 Contrametric, 344 Carlsen, James, 43, 381, 385 Contrarian aesthetic, 333, 350–353 Carr, Leroy, 263 Contrastive valence, 21, 365 Carter, Elliot, 391 Contratonal, 339 Castellano, Mary, 168, 170, 213, 228, 395, Cook, Nicholas, 236, 393–394, 400 399 Coons, Edgar, 228, 382, 399, 401 ’Cello suites, J. S. Bach, 263 Cooper, Grosvenor, 396 Central pitch tendency, 267, 360 Correlated mental representations, 114 Chaconne, 261 Correlated pitch representation, 116 Chernoff, John, 190, 397 Cosmides, Leda, 203, 232, 392, 398, 400, Chills, 33 407 Chimeric melody, 233 Cowell, Henry, 143 Chinese characters, 132 Cree fi ddling, 230 Chinese music, 74, 76, 80, 116, 155–156, Creel, Warren, 75, 388, 398 211, 215, 228 Cross-over, 213 folk songs, 76, 80 Cuddy, Lola, 94, 381, 387, 389, 393–394 guqin, 228 Cueing, context, 204 Chopin, Fryderyk, 125 Cunningham, David, 405 Chorale harmonizations, J. S. Bach, 154, 226, 271 D’Agostino, Paul, 135, 393 Church, Frederic, 289 Dahlaus, Carl, 393 Cinderella Suite, Sergey Prokofi ev, 291 Damasio, Antonio, 8, 382 Cioffi , Delia, 23, 383 Dance suites, 214 Clarke, Eric, 396–397, 404 Daniele, Joseph, 189, 397 Clarke, John, 92, 389 Danny & the Juniors, 248–249 Classical Symphony, Sergey Prokofi ev, Darwinism, neural, 107 291 Davis, Don, 289 Climax, 322–326 Davis, Miles, 351 Closure, 153, 166 Debussy, Claude, 143, 182, 212, 263, 332 Cognitive fi rewall. See Firewall “De Camptown Races,” Stephen Foster, Cohen, Annabel J., 387, 391, 393–394 285 Cohort theory, 209 Declination, 77 452 Index

Default schemas, 217 Ellington, Duke, 248, 400 Defense reﬂ ex, 6 “Elliot” case, 8 Delay, 314, 365 Emory, Steve (Big Bear), 215 Deliège, C., 393–394 Emotion Dennett, Daniel, 394, 406 consequences of expectations, 7 Desain, Peter, 153, 191–194, 397, 404 microemotions, 25 Deutsch, Diana, 75, 396, 398 as motivational ampliﬁ er, 361 Dies Irae, from the Requiem, Giuseppe Verdi, valence, 361 275 “whiz-bang,” 25 Dissonance/consonance, 310–312, 324–325, English, 74, 188–189, 202 404 “An English Country Garden,” 189 Divenyi, Pierre, 43, 385 Epinephrine, 306 Dominant seventh, 155 Episodic memory, 220–221, 231, 225, 363 Double period, 179 “Erotica Variations,” Peter Schickele, 284 Dowling, W. Jay, 381, 388, 391, 398–399 ERP (evoked response potential), 51–52 Downbeat, 184 Essens, Peter, 175, 396 Drake, Carolyn, 195, 397 Estonian bagpipe music, 228 Dreaded P. D. Q. Bach, Peter Schickele, 403 Ethnomusicology, 376 Dreadlocks, 205 European folk songs, 80 Duplex theory of pitch, 107 Event-related binding, 122–123 Durrant, Simon, 300, 382 Evoked response, 52 Dutch music, 116 potential (ERP), 51–52 Dutton, Donald, 135–136 Evolutionary origins of laughter, 30 Dylan, Bob, 212 Exaptation, 34 Dynamic Expectation expectations, 227 conscious, 235, 326 familiarity, 254 dynamic, 227 predictability, 254 long-range, 180 surprise, 278 measurement of, 41 syncopation, 295–296 melodic, 91 nonperiodic, 187 Eberlein, Roland, 157, 395 temporal, 175 Edelman, Gerald, 108, 391 three functions of, 109 Eerola, Tuomas, 168, 171, 228, 381, 386, 396, of the unexpected, 294, 331 399 Experimental methods, 41–52 Ein musikalischer Spass, W. A. Mozart, 283, Explicit memory, 222 285 Exposure effect, 131, 361 Eitan, Zohar, 404 auditory, 134 Electroencephalograph, 52 effect of consciousness, 132 Elided phrase, 335 misattribution, 136 “Elise-a-Go-Go,” Albert Ahlen, 263 origin of, 135 Elision, 333 repetition effect, 139 Index 453

Faith, Percy, 263 “Für Elise,” Ludwig van Beethoven, 223–225, Familiarity 263 dynamic, 254–262 Future, sense of, 355 schematic, 242–254 veridical, 241–242 Gabrieli, Giovanni, 6 Feeling of anticipation, 306, 308–310, 313, Gabrielsson, Alf, 288, 383, 396, 403 328, 367 Gagaku, 187 Feminine ending, 405 “Garden path” phenomenon, 279–281 Fiddling Gaye, Marvin, 252 Cape Breton, 214 Genre, 185, 203 Cree, 230 German sixth chord, 155 James Bay, 400 Ghanaian drumming, 190, 229 Scottish, 230 Gibson, Donald, 121, 351 Fight, 35 Gilbert and Sullivan, 283 Figure/ﬁ guration, 255, 363 Gjerdingen, Robert O., 207–208, 214, 216, Fills, 248–250 253, 382, 398, 401 The Final Cut, Pink Floyd, 282–283 Glasenapp, Carl Friedrich, 405 Finale from Organ Symphony no. 5, Charles- Glass, Philip, 231 Marie Widor, 256 Goldberg Variations, J. S. Bach, 265 Firewall, 203, 214, 218, 363 Goldstein, Avram, 34, 384 “First Noël,” 223 “Goose ﬂ esh.” See Piloerection Flamenco, 229 Gould, Glenn, 264 Flight, 35 Gounod, Charles, 263 Flute Sonata in A minor, Benedetto Marcello, Gray, Jerry, 248, 400 258 Gray, Richard, 34, 384 The Flying Dutchman, Richard Wagner, Greenberg, David, 213, 398 334–336 Greenberg, Gordon, 42–43, 50, 63, 202, 385, Form, 252, 368 398 Forte, Allen, 259–260, 392–393 Greenwood, Donald, 311, 404, 407 Fourier, Jean Baptiste Joseph, 102 Gregorian chant, 155, 270 4′33″ (“Silence”), John Cage, 366 Gregory, Andrew, 198, 397 Fraisse, Paul, 175, 199, 396, 398–399 Grouping, 197–198 Francès, Robert, 121, 351, 381, 394 Gruber, Franz, 185 Freedman, J. W., 405 Gypsy music. See Romani (gypsy) music Freeman, John, 334, 405 Freeze, 31–33, 35 Habituation, 140 French, 188–189, 202 Halpern, Andrea, 387, 399 “Frères Jacques,” 189 Handel, Stephen, 396 Fricke, Jobst, 157, 395 Hansen, Christa, 168, 171, 395 Frisson, 25, 33–34, 281, 362 Hanslick, Eduard, 373, 408 Frost, Robert, 196, 397 “Happy Birthday,” Mildred and Patti Hill, Function, 368 111, 113, 225, 265 454 Index

Harmonic schema, 250 Iberian music, 74, 76 Harmonic syncopation, 295–296 Identity, of musical work, 262 Harmony, pop, 252 Il Pensieroso (“The Thinker”), Franz Liszt, Harnish, David, 47, 386 274–275 Harwood, Dane, 381, 398–399 Imagination response, 8, 358 Hassidic music, 74 Imperfect listening, 98 Hasty, Christopher, 396 Implicative, 306. See also Yearning Hawaiian slack key guitar, 229 Implicative context, 157 Haydn, Franz Joseph, 26, 36, 179, 180, 215, Implicit memory, 222 253, 278–279, 283, 303 Improvisation, 234–235, 291 Head-turning paradigm, 49 Induction, 59, 359 Hendrix, Jimi, 234 Information theory, 53–56, 114–116, Henning, Doug, 328 181–183, 382 “Here Comes the Bride,” 223 Initial schema, 207 Hick, W. E., 63, 224, 387 Interaural differences, 103 Hick–Hyman law, 63, 112 Intermediate-term memory, 228 Hierarchy, 178 Interval representation, 117 Hindemith, Paul, 382 Inuit throat singing, 215, 228 Hindustani music, 76 Inventio no. 8, J. S. Bach, 256 Hippel, Paul von, 47, 77–80, 82–85, 95–96, Irish music, 74, 76 340, 342 ITPRA theory of expectation, 15, Hirano, Minoru, 404 357–358 Historical linguistics, 374 Historical musicology, 374 Jackendoff, Ray, 197, 382, 397 “Hobo Blues,” John Lee Hooker, 263 Jairazbhoy, Nazir, 395 Hofman, Paul, 103, 390 Jajouka music, 156, 215, 395 Holland, John, 205, 398 James, William, 11, 382 Holst, Gustav, 258, 289, 318 Janata, Peter, 128, 386, 392, 394 Holyoak, Keith, 205, 398 Janissary style, 215 Honing, Henkjan, 153, 191–194, 397, 404 Japanese music, 74, 187, 189, 228 Hooker, John Lee, 263 Gagaku, 187 Horowitz, Vladimir, 264 Japanese New Age, 228 Howard, Jim H., 43, 385 Järvinen, Topi, 381, 396 Hulse, Stewart H., 387, 391, 407 Jazz, 155, 234, 236 Hume, David, 59 Jig, 214 Humor, 283. See also Laughter Jingle Cats, 284 Hungarian music, 215 Joel, Billy, 252 Huron, David, 80, 82, 86, 118, 189, 254, 340, John, Elton, 252 342 Jokes, 283 Hyman, Ray, 63, 224, 387, 393 Jones, Mari Riess, 176–177, 202, 381, 394, Hypermeter, 178–179 396–397 anticipation, 247 Joplin, Janis, 250 downbeat, 248–250 Joplin, Scott, 301–302 Index 455

“Joy to the World,” 86, 230 Laughter, 26–31, 283–288, 362 Juslin, Patrik, 407 evolutionary origins, 30 Learning, 359 Kagan, Jerome, 386–387 heuristic, 91 Kalimantan ritual music, 229 Hick–Hyman law, 63 Kameoka, A., 404 statistical, 190 Kant, Immanuel, 29, 383 temporal, 190 Karno, M., 400 Lebaka, Edward, 171 Kaufman, Rebecca, 403 LeDoux, Joseph, 383 Kaye, Sammy, 248, 400 Lee, C. S., 400 Kessler, Edward, 150–151, 153, 168–169, 171, Leman, Marc, 128, 171, 392, 394 210 Lennon, John, 252 Key proﬁ les, 150 Lerdahl, Fred, 197, 381–382, 393, 397 K. 545 Sonata, W. A. Mozart, 255–256 Le Sacre du Printemps, Igor Stravinsky, 270, Kidd, Gary, 396 345–346, 348–349 Kihlstrom, John, 133, 392 Lester, Joel, 396 King, B. B., 263 Levelt, Willem, 311, 404, 407 King Singers, 213 Levenson, Michael, 405 Konecˇni, Vladimir J., 236, 400 Levitin, Daniel, 387, 391–392, 399 Korean music, 76, 155, 172 Licklider, Joseph, 107 Koyaanisqatsi, Philip Glass, 231 Limpopo, 171, 228 Kraehenbuehl, David, 228, 382, 399, Lindstrom, Siv, 288, 383, 403 401 Listener-centered schemas, 217 Kramer, Jonathan D., 382, 395–396, 403 Liszt, Franz, 155, 274–275 Kronman, Ulf, 316, 404 Localization, 102 Krumhansl, Carol L., 45, 47, 149–151, 153, azimuth, 103–104, 359 168, 170, 172, 179, 210, 213, 216, 228, bearing, 105 340–341, 348, 360, 364 distance, 104 Kubovy, Michael, 381 elevation, 103–104 Kuriyagawa, M., 404 speed, 105 trajectory, 105 Lacrymosa from the Requiem, Giuseppe Verdi, Locke, John, 25 275 Lohengrin, Richard Wagner, 223, 334 Lakota music, 215, 216 Long-term memory, 225, 228 Landini, Francesco, 154 Longuet-Higgins, Christopher, 245, 400 Lange, Carl G., 11, 382 Lord, Albert B., 397 Lannoy, C., 121, 351 Lorenz, Alfred, 405 La Poule, Jean-Philippe Rameau, 402 Louhivuori, Jukkas, 381, 396 Large, Edward, 397 “Lover’s Concerto,” Percy Faith, 263 Largent, E. J., 121, 351 Lunney, Carol, 94, 381, 389 Larkin, Willard D., 42–43, 50, 63, 202, 385, 398 Macedonian music, 74, 76, 229 Larson, Steve, 44, 382, 385, 396 Mack, Dietrich, 405 456 Index

MacKenzie, Noah, 176, 202, 396 event-related binding, 122–123 Madrigal style, 213 lower derivative states, 122–123 Mahler, Gustav, 347 lower-order relationships, 122 Major key bias, 360 melodic interval, 117 Malm, William, 189, 397 neighboring relationships, 122 Mandler, George, 381–383 pitch, 121 “Maple Leaf Rag,” Scott Joplin, 301–302 preferred, 122, 124 Marañon, G., 382, 393 theory, 127 Marcello, Benedetto, 257–258 Mere exposure effect, 131 Marcus, Gary, 227 auditory, 134 Margulis, Elizabeth, 157, 306, 381–382, 395, effect of consciousness, 132 403 misattribution, 136 Marinetti, Filippo, 351 repetition effect, 139 Marion, Robert, 29, 384 Merriam, A. P., 388 “Mars, the Bringer of War” from The Planets, Messiaen, Olivier, 332 Gustav Holst, 259 Meter/metric, 179 Marvin, Elizabeth West, 387, 392 binary bias, 195 “Mary Had a Little Lamb,” 277 hierarchy, 267 Matsumoto, Kenji, 382 proximity, 267 Mazo, Margarita, 389 Method of production, 43 McClary, Susan, 407 betting paradigm, 47 McGraw, Peter, 21–22 bradycardic paradigm, 50 M-dependency theory, 181 evoked response potential paradigm, Measuring tendency, 162 51 Melody/melodic head-turning paradigm, 49 arch, 85–88, 360 probe-tone, 45 chimeric, 233 reaction time paradigm, 50 interval, 117 of tone detection, 42 Narmour’s theory, 94 Metric. See Meter/metric regression, 80 Metz, Paul, 406 structure, 91 Meyer, Leonard B., 2, 36, 77–78, 95, 162, 216, tumbling, 76 356 Memory, 363 Meyer, Max, 131, 348, 387, 392 changing, 266 Microemotions, 25 episodic, 221, 231, 363 Mielke, Andreas, 405 loop, 224 Millar, J. K., 121, 351 memorization, 229 Miller, Glenn, 248, 400 semantic, 231, 224 Minturn, Neil, 403 Mental representation, 73, 101–102, 106–107, Minuet in G, J. S. Bach, 263 219, 364 Misattribution, 135–136, 361, 363 acquiring, 110 Mismatch negativity, 52 brain imaging, 128 Mixed syncopation, 301 correlated, 114 Miyazaki, Ken’ichi, 112, 387, 391, 407 Index 457

Modernism, 331–333, 346–353 Newtonian mechanics, 316 reception of, 348–350 Ng, Yuet-Hon, 229, 400 Modulation, 285 Nisbett, Richard, 205, 398 Moelants, Dirk, 187, 202, 397 Nocturne op. 62, no. 2, Chopin, 125 Mohr, Joseph, 185 Norwegian music, 74, 76, 228 Moles, Abraham, 382, 387–388 Monahan, Jennifer, 132 Oddball note, 312 Montemayor, Ray, 403 “Ode to Joy,” Ludwig van Beethoven, 278– Moreland, Richard L., 134, 392 279, 303 Morgenstern, Sam, 397, 401–402 Offenbach, Jacques, 321–322 Moroccan music, 155–156, 215, 395 Ojibway music, 74, 76, 80 Morris, Robert, 392 “O.K. Chorale,” Peter Schickele, 284 Morton, Jelly Roll, 264 Ollen, Joy, 189, 228, 254, 397, 399–401, 406 Motivation, 109 Onset syncopation, 295–296 Motive, 258, 363 Opera buffa, 283 Moynihan, Heather, 176, 202, 396 Operetta, 283 Mozart, Wolfgang A., 26, 215, 253, 255–256, Op. 14, no. 2, Piano Sonata, Ludwig van 264, 283, 285, 353 Beethoven, 280 Mubarak, Abdul Aziz el, 213 Op. 24, Serenade, Arnold Schoenberg, Mull, Helen, 392, 402 342–343 Munch, Edvard, 383 Op. 27, no. 2, Piano Sonata (“Moonlight Murphy, Sheila, 132 Sonata”), Ludwig van Beethoven, 255–256 Musical aesthetics, 35, 167, 263–264, 363– Op. 30, Variations, Anton von Webern, 263 364, 333, 350–353, 373 Op. 51, no. 1, String Quartet, Brahms, Music for a Wilderness Lake, R. Murray Schafer, 259–261 270 Orienting response, 359 Music history, 374 Orkney Island ﬁ ddling, 230 “My Bonnie Lies Over the Ocean,” 65, 117 Ortmann, Otto, 388 Oshino, E., 381 Naive realism, 99 Oshinsky, James, 324, 404, 407 Nam, Unjung, 172, 396 “O Tannenbaum,” 223–224 Narmour, Eugene, 77–78, 94–96, 157, 171, O’Toole, Alice J., 43, 385 306, 382, 389, 399 Ottoman Turks, 215 theory of melodic organization, 94 Native American music, 74, 76, 80, 86, 116, Palestrina, Giovanni da, 84 155–156, 229, 395 Palmer, Caroline, 179, 396, 404 Naturalist fallacy, 400 Panksepp, Jaak, 34, 282–283, 292, 384, 402 Navaho war dance, 229 Papathanassiou, Vangelis, 252 Neapolitan seventh, 155 Papuan music, 215 “Neptune, the Mystic” from The Planets, Parasuraman, Raja, 43, 385 Gustav Holst, 289, 318 Parncutt, Richard, 394, 399, 401 Neural Darwinism, 107 Pärt, Arvo, 236 Newport, Elissa L., 69, 388, 397, 407 Partch, Harry, 143, 267, 401 458 Index

Patel, Aniruddh, 189, 397 Potter, Doug, 195, 397 Pavlov, Ivan, 321, 402 Povel, Dirk-Jan, 44, 175, 385, 394, 396 Pawnee music, 116, 155–156, 395 Powdered wig, 205 Pedi, 171, 228 Preadaptation, 34 Peg-leg rhythms, 285 Predictability, 239, 254 “Pennsylvania 6-5000,” Jerry Gray and Carl Predictable music, 140, 239 Sigman, 248, 400 Prediction, 357 Perceptual binding, 124 effect, 131, 139, 361 Peretz, Isabelle, 225, 399 response, 12, 358 Period(s), 179 Preference rules, 197 Periodicity, 175 Prelude I, from volume 1 of The Well- Perrott, David, 207–208, 398 Tempered Clavier, J. S. Bach, 182–183, 263 “Pervertimento,” Peter Schickele, 284 Prelude to act 3 of Parsifal, Richard Wagner, Peter and the Wolf, Sergey Prokoﬁ ev, 290 337 Physiology, 369 Premonition, 319–322 Piano Concerto op. 72, no. 5 (“Emperor”), Preparation, 4–7, 109 Ludwig van Beethoven, 319–320 Probability Piano Sonata op. 14, no. 2, Ludwig van conditional, 55 Beethoven, 280 subjective, 53 Picardy third, 275 Probe-tone method, 45 Piloerection, 33–35, 39, 362 Problem of induction, 59–60, 98, 137, 217, Pinker, Steven, 402 233 Pink Floyd, 282–283 Proctor, Gregory, 393 Pinna, 103 Prokoﬁ ev, Sergey, 290–292, 332, 352, 403 Piston, Walter, 382 Provine, Robert, 27–28, 288, 383, 403 Pitch proximity, 74–75, 88, 91–92, 94, 96, Psychological history, 374 157, 160, 267, 360 Puente, Jennifer, 176, 202, 396 Pitch-related mental representation, 116–122 Puerto Rican infant songs, 178 Pitch unlearning theory of absolute pitch, Puirt à Baroque, 214 111 Pump down/up, 285 The Planets, Gustav Holst, 258, 289, 318 Punjabi pop, 228 Pleasure Putra, 168 of downbeat, 184 of tonic, 164–166 Qualia, 144, 306, 317, 362–363 Plomp, Reiner, 311, 404, 407 anticipatory, 328–329 Poetry, 196, 367 chromatic mediant chords, 271–275 Polka, 228 rhythm, 184–185, 200 Pondo music, 74, 76 scale degree, 144–147 162–167, 362 “Pop Goes the Weasel,” 114, 116 suspension, 310 Pop harmony, 252 Québec, Cree Indians, 230 Popper, Karl, 387 Quodlibet for Small Orchestra, Peter Schickele, Post-skip reversal, 124, 360 276 Index 459

Ragot, Richard, 195, 397 Sales, Stephen, 133 Rahn, John, 392 Salzer, Felix, 393 Rameau, Jean-Philippe, 382, 402 Sami yoiks, 171, 228 Rastafarians, 205 Samoan pop songs, 294 Ravel, Maurice, 212, 258 Samplaski, Art, 121, 351 Reaction response, 13, 358 Sandell, Gregory, 216, 348, 398, 406 Reaction time method, 50–51 Satie, Erik, 332 Realism, naive, 99 Sax, Adolphe, 212 Regression to the mean, 360 Sayres, Elizabeth, 402 Reimer, B., 382 Scale-degree qualia, 144, 147, 162 Repeated listening, 292, 304 Schachter, Carl, 382 Repetition, 229–231, 367 Schachter, Daniel L., 399 effect, 139 Schafer, R. Murray, 270, 391 Repp, Bruno, 404 Schaffer, L. Henry, 404 Representation, 73, 101, 109, 197, 219 Schaffrath, Helmut, 387, 394, 403 absolute pitch, 110 Schellenberg, E. Glenn, 94, 171, 381, 389, correlated, 114 392 of expected pitch, 106 Schema, 203 pitch, 121 default, 207 preferences, 122, 124 harmonic, 250 theory of auditory, 127 listener-centered, 217 Requiem, Giuseppe Verdi, 275 starting, 207 Rhythm/rhythmic switching, 210 attending, 176 taxonomies, 214 genre, 185 Schematic expectations, 225 speech, 188 familiarity, 242 statistical learning of, 190–194 surprise, 270 Riemann, Hugo, 154, 382 Schenker, Heinrich, 97, 369, 382, 393, 397 Rifkin, Deborah, 291, 403 Schenkerian theory, 97 Riley, Terry, 351 Scherer, Klaus, 324, 404, 407 Rodin, Auguste, 274 Schickele, Peter, 26, 213, 234, 276–277, 284– Roeder, John, 397 287, 291–292, 327, 402 “Roll Over Beethoven,” Chuck Berry, 234 Schiller, Friedrich, 278 Romani (gypsy) music, 154, 215, 229 Schmidt, Annerose, 222 Rosner, Burton, 381, 389 Schmuckler, Mark A., 44–45, 95, 149, 340– Rozin, Paul, 381, 383, 385 341, 381, 385, 389, 406 Russian laments, 76, 389 Schoenberg, Arnold, 121, 143, 236, 263, 282, 332–333, 339–344, 346–353, 365, 401, Sachs, Curt, 76, 86, 401 405–406 Sadakata, Makiko, 191, 194, 397 Schubert, Franz, 80 Saffran, Jenny, 67–69, 71, 73, 153, 361, 388, Scottish ﬁ ddling, 230 407 Seashore, Carl, 176, 323, 372, 396, 404, 407 460 Index

Sellmer, Peter, 110, 391, 404, 407 Stride bass, 302, 375 Semantic memory, 220, 224–225, 231 String quartet op. 33, no. 2 (“The Joke”), Sense of future, 355 Franz Joseph Haydn, 283 Sequence, 256 String quartet op. 51, no. 1, Brahms, 259–261 Sergeant, Desmond, 216, 348, 398, 406 String quartet op. 54, no. 1, Franz Joseph Shannon, Claude E., 154, 162, 387 Haydn, 179–180 Shepard, Roger, 45, 168–169, 171 Style, 252 Short-term memory, 197, 220, 227 Stylistic taxonomies, 217 Siciliano, 185 Subito piano, 283 Sigman, Carl, 248, 400 Subjective probability, 53 Simons, Ronald, 21, 383, 404 Sudanese rock, 213 Simpson, Jasba, 64, 112, 181–182, 387, 391, Sullivan, Arthur, 283 407 Sundberg, Johan, 316, 318, 404 Skriabin, Alexander, 264 Surprise, 19, 269, 281, 303, 362 Sloboda, John, 34, 281–283, 292 aesthetics of, 35 Smith, Bessie, 263 awe, 31, 288 Snyder, Bob, 197, 221, 229, 237 creating, 269 Socrates, 59 dynamic, 278 “Somewhere Over the Rainbow,” 65 facial expression of, 362 South African music, 80, 171 fi ght, 362 Spanish fl amenco, 229 fl ight, 362 Speech rhythms, 188 freeze, 362 “The Star Spangled Banner,” 86 frisson, 33, 281 Starting schema, 207 garden path, 279 Startle response, 6, 226 laughter, 26, 283 Statistical learning, 190, 360–361 schematic, 270 Hick–Hyman law, 190 subito piano, 368 properties of music, 73 syncopation, 294 rhythm, 190–194 types of, 25 scale degree, 147 veridical, 275 Step declination, 75, 267 weirdness, 290 Step inertia, 77, 360 Surprise Symphony (no. 94), Franz Joseph Stevens, S. Smith, 323, 404 Haydn, 278–279, 303 “Stille Nacht” (“Silent Night”), Franz Gruber Suspension, 309 and Joseph Mohr, 185 Sweet anticipation, 326–327 Stockhausen, Karlheinz, 7, 391 Swiss yodeling, 75, 205 Stop-and-go rhythm, 250 Symphony no. 5 in C minor, op. 67, Ludwig Strack, Fritz, 11–12, 34, 382 van Beethoven, 234, 276 Strauss, Richard, 347 Syncopation, 200–201, 294–295, 297, 299– Stravinsky, Igor, 270, 332–333, 344–350 303, 349 Stream-of-consciousness listening, 310, 366 agogic, 296 Stress, 362 dynamic, 295–296 Stretto, 254 expected, 302 Index 461

expecting, 302 Tovey, Donald Francis, 388 harmonic, 295–296 TPR. See Stream-of-consciousness listening mixed, 301 Trainor, Laurel J., 389 onset, 295–296 Trehub, Sandra, 389 qualia, 200–201 Tritone substitution, 155 tonal, 297, 299 Troost, Jim, 75–76, 388 Syrinx, Claude Debussy, 182, 263 Tumbling melodies, 76 Tune-on-the-brain, 230 Tactus, 175–176 Turkish style music (alla turca), 215 Tagg, Philip, 253 Tuvan music, 86, 215 Takeuchi, Annie H., 387, 391, 407 Tannhaüser, Richard Wagner, 334–335 Unbegun Symphony, Peter Schickele, 284–285 Taxonomies, schema, 214 Undergeneralization, 206 Taylor, C. Barr, 23, 383 “Unison” from Mikrocosmos, Bela Bartók, 182 Taylor, Jack, 43, 385 Unusualness rules, 205 “Tea for Two,” Vincent Youman/Duke Unyk, Anna M., 381, 389 Ellington, 248, 400 U.S. national anthem, Jimi Hendrix version, Temperley, David, 280, 392, 402, 408 234 Tendency, 158–162 moments, 244–245 Vangelis. See Papathanassiou, Vangelis measuring, 162 Van Horn, John D., 128 Tension, 305 Van Opstal, John, 103, 390 response, 9, 358 Varèse, Edgar, 143, 332, 351 tension-S, 306 Veltman, Joshua, 394, 408 Terhardt, Ernst, 401 Venda music, 74, 76 Thagard, Paul, 205, 398 Verdi, Giuseppe, 275 Themes, 258 Veridical expectations, 224–225 Theory of auditory representation, 127 familiarity, 241 Thompson, William, 381 surprise, 275 Thrall, B., 121, 351 Verklärte Nacht (“Transﬁ gured Night”), Arnold “Three Blind Mice,” 65, 277 Schoenberg, 282 “Three O’Clock Blues,” B. B. King, 263 Vienna, 188, 215 Thrills, 33 Vivaldi, Antonio, 263 Tibetan music, 187, 376 Vos, Piet, 75–76, 388 Tillmann, Barbara, 128, 392, 394 Voss, Richard, 92, 389 Todd, Neil, 396, 404 Toiviainen, Petri, 381, 386, 396 Wachowski, Larry and Andy, 289 Tonal function, 173 Wagner, Richard, 223, 318, 332–339, 346– Tonality, 143–174 350, 352 and culture, 168–172 Waltzes, Viennese, 188 Tonal syncopation, 297, 299 Ward, W. Dixon, 387, 391, 394, 396, 399 Tonotopic pitch representation, 107 Watt, Henry, 80 Tooby, John, 203, 232, 392, 398, 400, 407 Weaver, Warren, 154, 162, 387 462 Index

Webern, Anton von, 263, 332, 348, 406 Weirdness, 290 The Well-Tempered Clavier, J. S. Bach, 149, 182–183, 234, 394 West African drumming, 215 Wheelock, Gretchen, 36, 383, 385, 402 Widor, Charles-Marie, 255–256 Wilson, William, 134–135, 393 Wittgenstein, Ludwig, 225, 238 Wittgenstein’s puzzle, 225 Woodrow, Herbert, 175, 197, 396–397 Wrong notes in improvisation, 234–235

Xenakis, Iannis, 391 Xhosa music, 74, 116

Yearning, 306, 363 Yoiks, 75 Youmans, Vincent, 248, 400 “Young Woman’s Blues,” Bessie Smith, 263 Yuet-Hon Ng, 229

Zajonc, Robert B., 131–132, 134–135, 392 Zanna, Mark P., 382, 385, 407 Zatorre, Robert, 34, 384 Zukunftsmusik, 332 Zulu music, 74, 76