Auditory Expectation: The Information Dynamics of Music Perception and Cognition
Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond.
The Development of Music Perception and Cognition
Publisher Summary This chapter discusses the development of music perception and cognition. An adult listening attentively to a piece of music and understanding it performs an enormous amount of information processing very rapidly. Most of this processing is carried out automatically below the level of conscious analysis, because there is no time for reflective thought on each detail as the piece steadily progresses. This process is closely parallel to what happens when a native speaker of a language listens to and understands a sentence. A point to be emphasized is the ease and rapidity with which adults perform complex cognitive tasks in domains of speech and music familiar to them, and the degree to which that facility depends on prior experience. The implicit knowledge of adults is built on elements present even in infancy and the importance of melodic and rhythmic contours, the use of discrete, steady pitch levels, the organization of rhythmic patterns into a steady beat and an overlay of more complicated rhythms, and octave equivalence. These elements provide the groundwork for perceptual learning and acculturation throughout life to build upon.
Music Perception and Cognition: A Review of Recent Cross-Cultural Research
Experimental investigations of cross-cultural music perception and cognition reported during the past decade are described. As globalization and Western music homogenize the world musical environment, it is imperative that diverse music and musical contexts are documented. Processes of music perception include grouping and segmentation, statistical learning and sensitivity to tonal and temporal hierarchies, and the development of tonal and temporal expectations. The interplay of auditory, visual, and motor modalities is discussed in light of synchronization and the way music moves via emotional response. Further research is needed to test deep-rooted psychological assumptions about music cognition with diverse materials and groups in dynamic contexts. Although empirical musicology provides keystones to unlock musical structures and organization, the psychological reality of those theorized structures for listeners and performers, and the broader implications for theories of music perception and cognition, awaits investigation.
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