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Music Perception (2021) 39 (1): 41–62.
Published: 01 September 2021
...Emily Schwitzgebel; Christopher Wm. White This study tests the respective roles of pitch-class content and bass patterns within harmonic expectation using a mix of behavioral and computational experiments. In our first two experiments, participants heard a paradigmatic chord progression derived...
Music Perception (2016) 33 (5): 601–612.
Published: 01 June 2016
...Matthew A. Rosenthal; Erin E. Hannon Musical expectations may arise from short-term sensitivity to the statistics of the immediate context and from long-term knowledge acquired through previous listening experiences. Here we investigate the influence of two statistical structures on tonal...
Music Perception (2015) 33 (1): 110–128.
Published: 01 September 2015
...Zuzana Cenkerová; Richard Parncutt In theories of auditory scene analysis and melodic implication/realization, melodic expectation results from an interaction between top-down processes (assumed to be learned and schema-based) and bottom-up processes (assumed innate, based on Gestalt principles...
Music Perception (2014) 32 (1): 85–99.
Published: 01 September 2014
... probability. The two models were tested on four corpora of tonal melodies using cross-entropy. The Markov model yielded a somewhat lower (better) cross-entropy than the Gaussian model, but is also much more complex, requiring far more parameters. The models were also tested on melodic expectation data...
Music Perception (2014) 31 (5): 470–484.
Published: 01 June 2014
...Renee Timmers; Harriet Crook Three behavioral experiments were conducted to investigate the hypothesis that perceived emotion activates expectations for upcoming musical events. Happy, sad, and neutral pictures were used as emotional primes. In Experiments 1 and 2, expectations for the continuation...