The dynamics of musical expectancy : cross-cultural and statistical approaches to melodic expectations

[1]  Henkjan Honing,et al.  Issues on the representation of time and structure in music , 1993 .

[2]  Piet G. Vos,et al.  Perceived tempo change is dependent on base tempo and direction of change: Evidence for a generalized version of Schulze's (1978) internal beat model , 1997 .

[3]  D. Oller,et al.  Innateness, Experience, and Music Perception , 1990 .

[4]  E. Donchin,et al.  Do Re Mi Fa Sol La Ti——Constraints, Congruity, and Musical Training: An Event-Related Brain Potentials Study of Musical Expectancies , 2002 .

[5]  Rhythmic factors in tonality. , 1995 .

[6]  José Lino Oliveira Bueno,et al.  Influence of Generalized Complexity of a Musical Event on Subjective Time Estimation , 2002, Perceptual and motor skills.

[7]  R Näätänen,et al.  The musical brain: brain waves reveal the neurophysiological basis of musicality in human subjects , 1997, Neuroscience Letters.

[8]  L. Cuddy.  Melody comprehension and tonal structure. , 1993 .

[9]  J. Mehler,et al.  Monitoring the lexicon with normal and compressed speech: Frequency effects and the prelexical code. , 1990 .

[10]  F. Hofstetter.  The nationalistic fingerprint in nineteenth-century romantic chamber music , 1979 .

[11]  Inference of Mode in Melodies , 1999 .

[12]  D J Mewhort,et al.  Perception of structure in short melodic sequences. , 1981, Journal of experimental psychology. Human perception and performance.

[13]  G. A. Miller.  THE PSYCHOLOGICAL REVIEW THE MAGICAL NUMBER SEVEN, PLUS OR MINUS TWO: SOME LIMITS ON OUR CAPACITY FOR PROCESSING INFORMATION 1 , 1956 .

[14]  L. Cuddy,et al.  Recovery of the tonal hierarchy: Some comparisons across age and levels of musical experience , 1987, Perception & psychophysics.

[15]  D. Schön,et al.  Processing pitch and duration in music reading: a RT–ERP study , 2002, Neuropsychologia.

[16]  D. Berlyne,et al.  Aesthetics and psychobiology , 1975 .

[17]  Mari Tervaniemi,et al.  Musical Sound Processing in the Human Brain , 2001 .

[18]  Marsha Berman,et al.  The directory of tunes and musical themes , 1975 .

[19]  B. Tillmann,et al.  Implicit learning of tonality: a self-organizing approach. , 2000, Psychological review.

[20]  Rosalee K. Meyer,et al.  Affective and Coherence Responses to Russian Laments , 1998 .

[21]  Charles Keil,et al.  Music Grooves: Essays and Dialogues , 1994 .

[22]  M Huotilainen,et al.  Harmonic partials facilitate pitch discrimination in humans: electrophysiological and behavioral evidence , 2000, Neuroscience Letters.

[23]  Mari Riess Jones,et al.  Music as a stimulus for psychological motion: Part II. An expectancy model. , 1982 .

[24]  I. Peretz,et al.  Singing in the Brain: Independence of Lyrics and Tunes , 1998 .

[25]  Aniruddh D. Patel,et al.  Processing Syntactic Relations in Language and Music: An Event-Related Potential Study , 1998, Journal of Cognitive Neuroscience.

[26]  G. Clore,et al.  Social Psychology: Handbook of Basic Principles , 1996 .

[27]  C. Chuan.  Tone and Voice: A Derivation of the Rules of Voice-Leading from Perceptual Principles , 2001 .

[28]  Eric Clarke,et al.  Rhythm and Timing in Music , 1999 .

[29]  Burton S. Rosner,et al.  10 – Melodic Processes and the Perception of Music , 1982 .

[30]  J. Bharucha,et al.  Reaction time and musical expectancy: priming of chords. , 1986, Journal of experimental psychology. Human perception and performance.

[31]  P. Janata,et al.  Activation of the inferior frontal cortex in musical priming. , 2003, Annals of the New York Academy of Sciences.

[32]  J. Bharucha.  Music Cognition and Perceptual Facilitation: A Connectionist Framework , 1987 .

[33]  A. Bregman,et al.  Primary auditory stream segregation and perception of order in rapid sequences of tones. , 1971, Journal of experimental psychology.

[34]  Paul T. von Hippel,et al.  Why Do Skips Precede Reversals? The Effect of Tessitura on Melodic Structure , 2000 .

[35]  D. Temperley.  The Cognition of Basic Musical Structures , 2001 .

[36]  E. Newport,et al.  Computation of Conditional Probability Statistics by 8-Month-Old Infants , 1998 .

[37]  Mireille Besson,et al.  Brain waves associated with musical incongruities differ for musicians and non-musicians , 1994, Neuroscience Letters.

[38]  E. V. Hornbostel,et al.  African Negro Music , 1928, Africa.

[39]  R. Parncutt.  A Perceptual Model of Pulse Salience and Metrical Accent in Musical Rhythms , 1994 .

[40]  G. M. White,et al.  Thinking through Cultures: Expeditions in Cultural Psychology. RICHARD A. SHWEDER , 1994 .

[41]  Richard Parncutt,et al.  Tone Profiles following Short Chord Progressions: Top-down or Bottom-up? , 2000 .

[42]  A. Friederici,et al.  Brain Indices of Music Processing: Nonmusicians are Musical , 2000, Journal of Cognitive Neuroscience.

[43]  David Temperley,et al.  Meter and Grouping in African Music: A View from Music Theory , 2000 .

[44]  Perry R. Cook,et al.  Music, cognition, and computerized sound: an introduction to psychoacoustics , 1999 .

[45]  R. Zatorre,et al.  When that tune runs through your head: a PET investigation of auditory imagery for familiar melodies. , 1999, Cerebral cortex.

[46]  B. Tillmann,et al.  Effect of global structure and temporal organization on chord processing , 1999 .

[47]  F. Lerdahl,et al.  Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training , 1996, Perception & psychophysics.

[48]  S. Trehub,et al.  Infants' perception of musical relations in short transposed tone sequences. , 1987, Canadian journal of psychology.

[49]  L. V. Noorden.  Temporal coherence in the perception of tone sequences , 1975 .

[50]  M. Chun,et al.  Top-Down Attentional Guidance Based on Implicit Learning of Visual Covariation , 1999 .

[51]  Vladimir J. Konečni,et al.  The Effects of Structural Interventions in the First Movement of Mozart's Symphony in G Minor K. 550 on Aesthetic Preference , 1992 .

[52]  Leonard Daoussis,et al.  Musical Preferences and Effects of Music on a Reading Comprehension Test for Extraverts and Introverts , 1986 .

[53]  David Liptak,et al.  The Stratification of Musical Rhythm , 1978 .

[54]  Sandra E. Trehub,et al.  Human processing predispositions and musical universals. , 2000 .

[55]  L. Polansky,et al.  Temporal Gestalt Perception in Music , 1980 .

[56]  P. Green.  Biology and Cognitive Development: the Case of Face Recognition, Mark H. Johnson, John Morton. Blackwell, Oxford (1991), x, +180. Price £35.00 hardback, £10.95 paperback , 1992 .

[57]  Emery Schubert.  Measuring emotion continuously: Validity and reliability of the two-dimensional emotion-space , 1999 .

[58]  Musical Performance and Emotion: Issues and Developments , 2004 .

[59]  John A. Sloboda,et al.  Immediate Recall of Melodies , 2004 .

[60]  W. Auhagen.  Experimentelle Untersuchungen zur auditiven Tonalitätsbestimmung in Melodien , 1994 .

[61]  S. S. Culbert,et al.  Cognition and Categorization , 1979 .

[62]  Grosvenor W. Cooper,et al.  The Rhythmic Structure of Music , 1971 .

[63]  Lloyd A. Dawe,et al.  Inference of Metrical Structure from Perception of Iterative Pulses within Time Spans Defined by Chord Changes , 1994 .

[64]  R. Jackendoff,et al.  A Generative Theory of Tonal Music , 1985 .

[65]  A. M. Jones,et al.  Studies in African Music , 1960 .

[66]  I. Winkler,et al.  The concept of auditory stimulus representation in cognitive neuroscience. , 1999, Psychological bulletin.

[67]  S. Trehub,et al.  A comparison of infants' and adults' sensitivity to western musical structure. , 1992, Journal of experimental psychology. Human perception and performance.

[68]  Jamshed J. Bharucha,et al.  Neural Nets, Temporal Composites, and Tonality , 1999 .

[69]  R Verleger,et al.  P3-evoking wrong notes: unexpected, awaited, or arousing? , 1990, The International journal of neuroscience.

[70]  J. Bharucha,et al.  Priming of chords: Spreading activation or overlapping frequency spectra? , 1987, Perception & psychophysics.

[71]  J. Baldwin.  A New Factor in Evolution , 1896, The American Naturalist.

[72]  Barbara Tillmann,et al.  Effects of Global and Local Contexts on Harmonic Expectancy , 1998 .

[73]  James L. McClelland,et al.  Constituent Attachment and Thematic Role Assignment in Sentence Processing: Influences of Content-Based Expectations , 1988 .

[74]  A. Gregory,et al.  Cross-Cultural Comparisons in the Affective Response to Music , 1996 .

[75]  Lola L. Cuddy,et al.  The Pleasingness of Melodic Sequences: Contrasting Effects of Repetition and Rule-familiarity , 1986 .

[76]  Marc Leman,et al.  Music and Schema Theory : Cognitive Foundations of Systematic Musicology , 1995 .

[77]  Leonard B. Meyer.  Emotion and Meaning in Music , 1957 .

[78]  R Näätänen,et al.  Pre‐attentive categorization of sounds by timbre as revealed by event‐related potentials , 1997, Neuroreport.

[79]  D. Povel,et al.  Harmonic Factors in the Perception of Tonal Melodies , 2002 .

[80]  Derrick M. Kiger.  Effects of Music Information Load on a Reading Comprehension Task , 1989 .

[81]  Carol L. Krumhansl,et al.  Infants’ Perception of Phrase Structure in Music , 1990 .

[82]  Neil P. McAngus Todd,et al.  The auditory “Primal Sketch”: A multiscale model of rhythmic grouping , 1994 .

[83]  L. V. Noorden,et al.  Resonance in the Perception of Musical Pulse , 1999 .

[84]  Aniruddh D. Patel,et al.  Temporal patterns of human cortical activity reflect tone sequence structure , 2000, Nature.

[85]  M. R. Jones,et al.  Dynamic attending and responses to time. , 1989, Psychological review.

[86]  L. Cuddy,et al.  Expectancies generated by melodic intervals: Evaluation of principles of melodic implication in a melody-completion task , 1997, Perception & psychophysics.

[87]  Mari Tervaniemi.  Pre-Attentive Processing of Musical Information in the Human Brain , 1999 .

[88]  Petr Janata,et al.  Online Detection of Tonal Pop-Out in Modulating Contexts , 2003 .

[89]  L. Cuddy,et al.  Expectancies generated by melodic intervals: Perceptual judgments of melodic continuity , 1995, Perception & psychophysics.

[90]  L. Knopoff,et al.  Entropy as a Measure of Style: The Influence of Sample Length , 1983 .

[91]  McAngus N. Todd,et al.  A sensorimotor theory of temporal tracking and beat induction , 2002, Psychological research.

[92]  Rebecca E. Eilers,et al.  Children's Perception of Native and Nonnative Musical Scales , 1991 .

[93]  Robert O. Gjerdingen,et al.  Defining a prototypical utterance. , 1991 .

[94]  M. Schmuckler.  Expectancy effects in memory for melodies. , 1997, Canadian journal of experimental psychology = Revue canadienne de psychologie experimentale.

[95]  J. Bharucha,et al.  Implicit knowledge versus psychoacoustic similarity in priming of chords , 1998 .

[96]  Steve Larson.  Musical Forces, Melodic Expectation, and Jazz Melody , 2002 .

[97]  C. Krumhansl.  Tonality Induction: A Statistical Approach Applied Cross-Culturally , 2000 .

[98]  T. Eerola,et al.  A COMPUTATIONAL MODEL OF MELODIC SIMILARITY BASED ON MULTIPLE REPRESENTATIONS AND SELF-ORGANIZING MAPS , 2002 .

[99]  M. Cole.  Cultural psychology: a once and future discipline? , 1996, Nebraska Symposium on Motivation. Nebraska Symposium on Motivation.

[100]  M A Schmuckler,et al.  Phrasing influences the recognition of melodies , 1997, Psychonomic bulletin & review.

[101]  C. Krumhansl,et al.  Mental representations for musical meter. , 1990, Journal of experimental psychology. Human perception and performance.

[102]  Paul T. von Hippel,et al.  Redefining Pitch Proximity: Tessitura and Mobility as Constraints on Melodic Intervals , 2000 .

[103]  Lawrence M. Zbikowski.  Musical Coherence, Motive, and Categorization , 1999 .

[104]  Elizabeth K. Johnson,et al.  Statistical learning of tone sequences by human infants and adults , 1999, Cognition.

[105]  R. Jackendoff.  Consciousness and the Computational Mind , 1987 .

[106]  Daniel Dominic Sleator,et al.  Modeling Meter and Harmony: A Preference-Rule Approach , 1999, Computer Music Journal.

[107]  K. Swartz,et al.  Neural Responses to Melodic and Harmonic Closure: An Event-Related-Potential Study , 1997 .

[108]  I. Peretz.  Brain Specialization for Music , 2001, Annals of the New York Academy of Sciences.

[109]  E. Schellenberg,et al.  Expectancy in melody: tests of the implication-realization model , 1996, Cognition.

[110]  M. Leman.  An auditory model of the role of short-term memory in probe-tone ratings. , 2000 .

[111]  R. Ilmoniemi,et al.  Functional Specialization of the Human Auditory Cortex in Processing Phonetic and Musical Sounds: A Magnetoencephalographic (MEG) Study , 1999, NeuroImage.

[112]  William Forde Thompson,et al.  Expectancy in Bohemian Folk Song Melodies: Evaluation of Implicative Principles for Implicative and Closural Intervals , 1998 .

[113]  J. M. Troost,et al.  Ascending and Descending Melodic Intervals: Statistical Findings and Their Perceptual Relevance , 1989 .

[114]  W F Thompson,et al.  Asymmetry of perceived key movement in chorale sequences: Converging evidence from a probe-tone analysis , 1992, Psychological research.

[115]  L L Cuddy,et al.  Effects of metric and harmonic rhythm on the detection of pitch alterations in melodic sequences. , 1989, Journal of experimental psychology. Human perception and performance.

[116]  C. Krumhansl.  The psychological representation of musical pitch in a tonal context , 1979, Cognitive Psychology.

[117]  C. Drake,et al.  Tempo discrimination in infants , 1997 .

[118]  C. Krumhansl,et al.  Tonal hierarchies in the music of north India. , 1984, Journal of experimental psychology. General.

[119]  Mark A. Schmuckler,et al.  Pitch-distributional effects on the perception of tonality , 2000 .

[120]  K. Hevner.  Experimental studies of the elements of expression in music , 1936 .

[121]  Stephen McAdams,et al.  Schema-based processing in auditory scene analysis , 2002, Perception & psychophysics.

[122]  Annabel J. Cohen,et al.  Tonality and perception: Musical scales primed by excerpts fromThe Well-Tempered Clavier of J. S. Bach , 1991, Psychological research.

[123]  J. Bharucha.  Tonality and expectation. , 1994 .

[124]  Bruno Nettl,et al.  Music, Culture, and Experience: Selected Papers of John Blacking , 1995 .

[125]  Marc Leman,et al.  Schema and Gestalt: Testing the Hypothesis of Psychoneural Isomorphism by Computer Simulation , 1996, Joint International Conference on Cognitive and Systematic Musicology.

[126]  Edgar Coons,et al.  Information as a Measure of Structure in Music , 1958 .

[127]  Dean Keith Simonton,et al.  Thematic fame and melodic originality in classical music: A multivariate computer‐content analysis1 , 1980 .

[128]  P. Todd,et al.  Musical networks: Parallel distributed perception and performance , 1999 .

[129]  Hasan Gürkan Tekman,et al.  Aspects of Stylistic Knowledge: What Are Different Styles Like and Why Do We Listen to Them? , 2002 .

[130]  F. Macar,et al.  An event-related potential analysis of incongruity in music and other non-linguistic contexts. , 1987, Psychophysiology.

[131]  D J Povel,et al.  Internal representation of simple temporal patterns. , 1981, Journal of experimental psychology. Human perception and performance.

[132]  C. Krumhansl.  A Perceptual Analysis of Mozart's Piano Sonata K. 282: Segmentation, Tension, and Musical Ideas , 1996 .

[133]  Marc Leman,et al.  Naturalistic approaches to musical semiotics and the study of causal musical signification , 1999 .

[134]  M. Boltz.  Some structural determinants of melody recall , 1991, Memory & cognition.

[135]  Clifford K. Madsen,et al.  Emotional Response to Music as Measured by the Two-Dimensional CRDI , 1997 .

[136]  Nicholas Cook.  The Perception of Large-Scale Tonal Closure , 1987 .

[137]  Peter M. Todd,et al.  Pitch, Harmony, and Neural Nets: A Psychological Perspective , 2003 .

[138]  C. Krumhansl,et al.  Pitch and rhythmic patterns affecting infants' sensitivity to musical phrase structure. , 1993, Journal of experimental psychology. Human perception and performance.

[139]  J. Sloboda.  Music Structure and Emotional Response: Some Empirical Findings , 1991 .

[140]  Marc Leman,et al.  Music, Gestalt, and Computing - Studies in Cognitive and Systematic Musicology , 1997 .

[141]  S E Trehub,et al.  Infants' perception of rhythm: categorization of auditory sequences by temporal structure. , 1989, Canadian journal of psychology.

[142]  Petr Janata,et al.  Neurophysiological Mechanisms Underlying Auditory Image Formation in Music , 2000 .

[143]  W. J. Dowling,et al.  Rhythmic Fission and Perceptual Organization , 1968 .

[144]  Marc Leman.  Schema-based tone center recognition of musical signals , 1994 .

[145]  Mark A. Schmuckler,et al.  The performance of global expectations. , 1990 .

[146]  Roger A. Kendall,et al.  Comparative Music Perception and Cognition , 1999 .

[147]  C. Krumhansl,et al.  The Perception of Tone Hierarchies and Mirror Forms in Twelve-Tone Serial Music , 1987 .

[148]  Von Hippel,et al.  Melodic-Expectation Rules as Learned Heuristics , 2002 .

[149]  C. Krumhansl,et al.  Music psychology:tonal structures in perception and memory. , 1991, Annual review of psychology.

[150]  P. Juslin,et al.  Emotional expression in music. , 2003 .

[151]  L. Cosmides,et al.  Consider the source: The evolution of adaptations for decoupling and metarepresentation , 2000 .

[152]  C. Palmer.  Anatomy of a Performance: Sources of Musical Expression , 1996 .

[153]  FUNCTIONS OF THE SIZE OF INTERVAL IN THE SONGS OF SCHUBERT AND OF THE CHIPPEWA AND TETON SIOUX INDIANS , 1924 .

[154]  E. Bigand,et al.  Perceiving musical tension in long chord sequences , 1999, Psychological research.

[155]  Burton S. Rosner,et al.  The Perceptual Roles of Melodic Process, Contour, and Form , 1986 .

[156]  S. McAdams.  Psychological constraints on form-bearing dimensions in music , 1989 .

[157]  Fred Lerdahl,et al.  Calculating Tonal Tension , 1996 .

[158]  E. Rosch.  Cognitive reference points , 1975, Cognitive Psychology.

[159]  R. Shepard,et al.  Tonal Schemata in the Perception of Music in Bali and in the West , 1984 .

[160]  Michael T. Turvey,et al.  An auditory analogue of the sperling partial report procedure: Evidence for brief auditory storage , 1972 .

[161]  L. Cuddy,et al.  Melody recognition: the experimental application of musical rules. , 1979, Canadian journal of psychology.

[162]  Alan C. Evans,et al.  Hearing in the Mind's Ear: A PET Investigation of Musical Imagery and Perception , 1996, Journal of Cognitive Neuroscience.

[163]  Lucy Pollard-Gott,et al.  Emergence of thematic concepts in repeated listening to music , 1983, Cognitive Psychology.

[164]  C Palmer,et al.  Independent temporal and pitch structures in determination of musical phrases. , 1987, Journal of experimental psychology. Human perception and performance.

[165]  Peter J. Lang,et al.  Attention and Orienting : Sensory and Motivational Processes , 1997 .

[166]  E. Schellenberg,et al.  Simplifying the Implication-Realization Model of Melodic Expectancy , 1997 .

[167]  R. Shepard.  Geometrical approximations to the structure of musical pitch. , 1982, Psychological review.

[168]  Laurel J. Trainor,et al.  Listening strategies in infancy: The roots of music and language development. , 1993 .

[169]  C. Krumhansl.  An exploratory study of musical emotions and psychophysiology. , 1997, Canadian journal of experimental psychology = Revue canadienne de psychologie experimentale.

[170]  Peter Essens,et al.  Perception of Temporal Patterns , 1985 .

[171]  Petri Toiviainen,et al.  A METHOD FOR COMPARATIVE ANALYSIS OF FOLK MUSIC BASED ON MUSICAL FEATURE EXTRACTION AND NEURAL NETWORKS , 2001 .

[172]  F. Bartlett,et al.  Remembering: A Study in Experimental and Social Psychology , 1932 .

[173]  Roger C. Schank,et al.  Scripts, plans, goals and understanding: an inquiry into human knowledge structures , 1978 .

[174]  Steve Larson,et al.  Continuations as Completions: Studying Melodic Expectation in the Creative Microdomain Seek Well , 1996, Joint International Conference on Cognitive and Systematic Musicology.

[175]  M. Besson,et al.  AN EVENT-RELATED POTENTIAL (ERP) STUDY OF MUSICAL EXPECTANCY : COMPARISON OF MUSICIANS WITH NONMUSICIANS , 1995 .

[176]  Anne Cutler,et al.  Phoneme identification and the lexicon , 1987, Cognitive Psychology.

[177]  Ian Cross,et al.  The Andean anacrusis? Rhythmic structure and perception in Easter songs of Northern Potosí, Bolivia , 2000 .

[178]  F. Keil,et al.  Acquisition of the hierarchy of tonal functions in music , 1982, Memory & cognition.

[179]  C. Krumhansl,et al.  Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys. , 1982 .

[180]  Unjung Nam,et al.  Pitch Distributions in Korean Court Music: Evidence Consistent with Tonal Hierarchies , 1998 .

[181]  D. Deutsch,et al.  The Internal Representation of Pitch Sequences in Tonal Music , 1981 .

[182]  Richard Parncutt,et al.  AN IMPROVED MODEL OF TONALITY PERCEPTION INCORPORATING PITCH SALIENCE AND ECHOIC MEMORY , 1993 .

[183]  Nicholas Cook,et al.  Perception: A perspective from music theory , 1994 .

[184]  R. Shepard,et al.  Quantification of the hierarchy of tonal functions within a diatonic context. , 1979, Journal of experimental psychology. Human perception and performance.

[185]  S. Pinker.  The Language Instinct , 1994 .

[186]  Otto E. Laske,et al.  Introduction to cognitive musicology , 1988 .

[187]  Laurel J. Trainor,et al.  A Comparison of Contour and Interval Processing in Musicians and Nonmusicians Using Event‐Related Potentials , 1999 .

[188]  M. Papoušek,et al.  Intuitive parenting: a hidden source of musical stimulation in infancy , 1996 .

[189]  K. Wachsmann,et al.  ANTHROPOLOGY OF MUSIC , 2006 .

[190]  Eric Clarke,et al.  Levels of structure in the organization of musical time , 1987 .

[191]  M R Jones,et al.  Controlled attending as a function of melodic and temporal context , 1982, Perception & psychophysics.

[192]  D. Rumelhart.  NOTES ON A SCHEMA FOR STORIES , 1975 .

[193]  E. Chew.  Towards a mathematical model of tonality , 2000 .

[194]  Richard C. Pinkerton.  Information theory and melody. , 1956 .

[195]  L. Cuddy,et al.  Responsiveness of Western adults to pitch-distributional information in melodic sequences , 1995, Psychological research.

[196]  I. Peretz,et al.  The Quarterly Journal of Experimental Psychology Section a Human Experimental Psychology Boundaries of Separability between Melody and Rhythm in Music Discrimination: a Neuropsychological Perspective , 2022 .

[197]  I. Cross,et al.  Children's Cognitive Representations of Musical Pitch , 1994 .

[198]  Marc Leman,et al.  Symbolic and subsymbolic description of music , 1993 .

[199]  H. Gardner,et al.  The Mind's New Science , 1985 .

[200]  Geraint A. Wiggins,et al.  A three-layer approach for music retrieval in large databases , 2001 .

[201]  E. Clarke.  Generative principles in music performance. , 1988 .

[202]  M. R. Jones.  Dynamic pattern structure in music: Recent theory and research , 1987, Perception & psychophysics.

[203]  Petr Janata,et al.  ERP Measures Assay the Degree of Expectancy Violation of Harmonic Contexts in Music , 1995, Journal of Cognitive Neuroscience.

[204]  I. Peretz,et al.  Processing of local and global musical information by unilateral brain-damaged patients. , 1990, Brain : a journal of neurology.

[205]  Arnold Schoenberg.  Theory of Harmony , 1948 .

[206]  W. Jay Dowling,et al.  Expectancy and attention in melody perception. , 1990 .

[207]  R. Parncutt.  Harmony: A Psychoacoustical Approach , 1989 .

[208]  Graham J. Hitch,et al.  Development of rehearsal in short-term memory: Differences between pictorial and spoken stimuli , 1989 .

[209]  William Hutchinson,et al.  Information Theory for Musical Continua , 1981 .

[210]  Emery Schubert.  Correlation analysis of continuous emotional response to music: Correcting for the effects of serial correlation , 2001 .

[211]  Mari Riess Jones,et al.  Learning and the development of expectancies: An interactionist approach. , 1990 .

[212]  M. R. Jones,et al.  Perceiving implied harmony: the influence of melodic and harmonic context. , 1995, Journal of experimental psychology. Learning, memory, and cognition.

[213]  Measuring Melodic Expectancies with Children , 1996 .

[214]  N. S. Johnson,et al.  Remembrance of things parsed: Story structure and recall , 1977, Cognitive Psychology.

[215]  John A. Sloboda,et al.  The musical mind , 1986 .

[216]  M. Besson,et al.  Different Brain Mechanisms Mediate Sensitivity to Sensory Consonance and Harmonic Context: Evidence from Auditory Event-Related Brain Potentials , 2001, Journal of Cognitive Neuroscience.

[217]  C. Krumhansl,et al.  Measuring and Modeling Real-Time Responses to Music: The Dynamics of Tonality Induction , 2003, Perception.

[218]  Mari Riess Jones,et al.  Music as a stimulus for psychological motion: Part I. Some determinants of expectancies. , 1981 .

[219]  M. Tervaniemi,et al.  Superior pre-attentive auditory processing in musicians. , 1999, Neuroreport.

[220]  C C Wood,et al.  Event-related potentials elicited by deviant endings to melodies. , 1992, Psychophysiology.

[221]  M. H. Kelly,et al.  Domain-general abilities applied to domain-specific tasks: Sensitivity to probabilities in perception, cognition, and language☆ , 1994 .

[222]  A B Rostron,et al.  Brief auditory storage: a modification of Sperling's paradigm applied to audition. , 1972, Acta psychologica.

[223]  M. Schmuckler.  Expectation in music: Investigation of melodic and harmonic processes. , 1989 .

[224]  J. Bharucha,et al.  Anchoring effects in music: The resolution of dissonance , 1984, Cognitive Psychology.

[225]  W. Jay Dowling,et al.  Scale structure and similarity of melodies. , 1988 .

[226]  J. L. Snyder.  Entropy as a Measure of Musical Style: The Influence of A Priori Assumptions , 1990 .

[227]  R. Walker.  Open Peer Commentary: Can We Understand the Music of another Culture? , 1996 .

[228]  E. Schellenberg,et al.  The origins of music perception and cognition: A developmental perspective. , 1997 .

[229]  John F. Kolen,et al.  Resonance and the Perception of Musical Meter , 1994, Connect. Sci..

[230]  M A Schmuckler,et al.  Harmonic and rhythmic influences on musical expectancy , 1994, Perception & psychophysics.

[231]  C. Krumhansl.  Music Psychology and Music Theory: Problems and Prospects , 1995 .

[232]  W. Thompson,et al.  A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues , 1999 .

[233]  Dirk-Jan Povel,et al.  Perceptual Mechanisms in Music Processing , 2001 .

[234]  Leonard B. Meyer.  Style and Music: Theory, History, and Ideology , 1989 .

[235]  Donald E. Brown.  Cross-cultural psychology: Research and applications , 1996 .

[236]  S. Handel,et al.  Listening: An Introduction to the Perception of Auditory Events , 1993 .

[237]  C. Krumhansl.  Cognitive Foundations of Musical Pitch , 1990 .

[238]  Mayumi Adachi,et al.  Expectancy in melody: tests of children and adults. , 2002, Journal of experimental psychology. General.

[239]  Adrian C. North,et al.  Subjective complexity, familiarity, and liking for popular music. , 1995 .

[240]  Youngmoo E. Kim,et al.  Analysis of a Contour-based Representation for Melody , 2000, ISMIR.