1. Musical Expectancy Definition of expectancy
“Expectancy” refers to the idea that an antecedent event, or set of events, implies or anticipates a subsequent event or set of events
In music, this means that a given musical event or passage implies or anticipates an upcoming musical event or passage
Impact of expectancy formation/realization
Relation between expectancy formation and the apprehension of musical emotion and meaning
Impact of expectancy formation on perceptual and cognitive processing of music

2. Musical Expectancy
Basic expectation ?

3. Musical Expectancy
Questions about the process of expectancy generation and realization
The factors underlying the formation of musical expectations. What processes give rise to the formation of expectancies, and influence the content of these expectations
The subsequent implications of expectancy realization on musical processing, including basic responses to music, guiding of attention, memory for music, and so on.

4. The Formation of Musical Expectancies
The Expectancy Region
(Jones, 1976)

5. The Formation of Musical Expectancies
Gestalt principles
Melodic processes (Meyer, 1973)
Gap-Fill Pattern
┌───┐ ?
Linear Pattern
Expected Note:

6. The Formation of Musical Expectancies
The 1st eight measures of Schumann’s “Du Ring An Meinen Finger,” Op. 42
Schmuckler (1989)

7. The Formation of Musical Expectancies
Schmuckler (1989)
Probe Position 1:
Context:
Trial 1: ↑
Continuation Tone
Trial 2:

8. The Formation of Musical Expectancies
Schmuckler (1989)
Probe Position 2:
 Context:
Possible Continuation Tones:

9. The Formation of Musical Expectancies
Schmuckler (1989)
Beta weights for tonal structure, melodic contour, and melodic process

10. The Formation of Musical Expectancies
The Implication-Realization Model
(Narmour, 1990, 1992)
Registral Direction – small intervals imply melodic continuation in the same direction, whereas large intervals imply a reversal of direction
Intervallic difference – small intervals imply similarly sized intervals whereas large intervals imply smaller intervals
Registral Return – refers to cases in which the second tone of a realized interval reverse pitch direction, thus producing approximate symmetry in patterns
Proximity – there is a general preference for small realized intervals
Closure – closure occurs when a melody changes direction or when a relatively smaller realized interval follows a larger implicative interval

11. The Formation of Musical Expectancies
Quantification of Narmour’s Implication-Realization Model
Schellenberg (1996)

12. The Formation of Musical Expectancies
Simplification of Narmour’s Implication-Realization Model
Schellenberg (1997)

13. The Formation of Musical Expectancies
Harmonic expectancies
Schmuckler (1989)
Predictions based on Piston’s (1978)
Table of Usual Root Progressions

14. The Formation of Musical Expectancies
Harmonic expectancies
Schmuckler (1989)
Comparisons of harmonic expectancy ratings

15. The Formation of Musical Expectancies
Combined (melodic and harmonic) expectancies
Schmuckler (1989)
Beta weights for melodic and harmonic factors

16. The Consequences of Musical Expectancies
The Harmonic Priming Paradigm
Bharucha & Stoeckig (1986, 1987)
Related Context:
Unrelated Context:

17. The Consequences of Musical Expectancies
Processing of harmonically related
and unrelated chords
Bharucha & Stoeckig (1986)

18. The Consequences of Musical Expectancies
Harmonic context and phoneme monitoring
Bigand, Tillman, Poulin, D’Adamo
& Madurell (2001)

19. The Consequences of Musical Expectancies
Harmonic context and phoneme monitoring
Bigand, Tillman, Poulin, D’Adamo
& Madurell (2001)

20. The Consequences of Musical Expectancies
Expectancy and memory
Schmuckler (1997)