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Music and the Psychology of Expectation Sweet Anticipation Music and the Psychology of Expectation David Huron A Bradford Book The MIT Press Cambridge, Massachusetts London, England © 2006 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected] or write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. This book was set in Stone Sans and Stone Serif by SNP Best-set Typesetter Ltd., Hong Kong, and was printed and bound in the United States of America. 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
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