A Model of Melodic Expectation

Margulis, Elizabeth Hellmuth

doi:10.1525/mp.2005.22.4.663

Cited by 130 publications

(102 citation statements)

References 46 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Because musical tension is strongly linked to processes such as expectancy build-up, violation or fulfillment of expectancies, to the anticipation of resolution after a breach of expectancy, and to the eventual resolution of such a breach, musical tension plays an important role in the emotional aspects of music listening (see also Huron, 2008;Koelsch, 2012;Margulis, 2005;Meyer, 1956;Narmour, 1992;Rohrmeier & Koelsch, 2012). This is corroborated by empirical research showing that subjective ratings of musical tension correlate with ratings of discrete emotions (sadness, fear, and happiness) and physiological responses during music listening (Krumhansl, 1997).…”

Section: A Striking Feature Of Music Is Its Abilitymentioning

confidence: 99%

The Influence of Different Structural Features on Felt Musical Tension in Two Piano Pieces by Mozart and Mendelssohn

et al. 2012

View full text Add to dashboard Cite

IN TONAL MUSIC, PATTERNS OF TENSION ANDresolution form one of the core principles evoking emotions. The experience of musical tension and resolution depends on various features of the music (e.g., dynamics, agogics, melody, and harmony); however, the relative contribution of different features to the experience of tension is less clear. To investigate the influence of different features on subjectively experienced musical tension, we compared continuous ratings of felt musical tension for original and modified versions of two piano pieces by Mendelssohn and Mozart. Modifications included versions without dynamics and without agogics as well as versions in which the music was reduced to its melodic, harmonic, or outer voice components. Additionally, we compared tension ratings with a loudness model. Tension ratings for versions without dynamics, versions without agogics and without dynamics, and outer voice reductions correlated highly with ratings for the original versions for both pieces. Tension rating correlations between melodic or harmonic reductions and original versions, as well as loudness and original ratings, differed between pieces and appeared to depend on the relative importance of the feature in the respective piece. In addition, qualitative analyses suggested that felt tension and resolution depend on phrase structure, local harmonic implications, and global syntactic structures of the pieces. Altogether, results indicate that discarding expressive features such as dynamics and agogics largely preserves tension-resolution patterns of the music, whereas the contributions of harmonic and melodic structure depend on the way in which they are employed in the composition.

show abstract

Section: A Striking Feature Of Music Is Its Abilitymentioning

confidence: 99%

The Influence of Different Structural Features on Felt Musical Tension in Two Piano Pieces by Mozart and Mendelssohn

et al. 2012

View full text Add to dashboard Cite

show abstract

“…Active music listening involves building complex cognitive representations of musical structure (e.g., Koelsch, Rohrmeier, Torrecuso, & Jentschke, 2013;Lerdahl & Jackendoff, 1983;Patel, 2008), generating musical expectancies (e.g., Huron, 2006;Margulis, 2005;Meyer, 1956;Rohrmeier & Koelsch, 2012), and detecting and resolving musical ambiguities (e.g., Jackendoff, 1991;Slevc & Okada, 2015); all processes that plausibly draw on EFs. Producing and learning music likely involves even greater EF demands.…”

Section: Introductionmentioning

confidence: 99%

Tuning the mind: Exploring the connections between musical ability and executive functions

et al. 2016

View full text Add to dashboard Cite

A growing body of research suggests that musical experience and ability are related to a variety of cognitive abilities, including executive functioning (EF). However, it is not yet clear if these relationships are limited to specific components of EF, limited to auditory tasks, or reflect very general cognitive advantages. This study investigated the existence and generality of the relationship between musical ability and EFs by evaluating the musical experience and ability of a large group of participants and investigating whether this predicts individual differences on three different components of EF – inhibition, updating, and switching – in both auditory and visual modalities. Musical ability predicted better performance on both auditory and visual updating tasks, even when controlling for a variety of potential confounds (age, handedness, bilingualism, and socio-economic status). However, musical ability was not clearly related to inhibitory control and was unrelated to switching performance. These data thus show that cognitive advantages associated with musical ability are not limited to auditory processes, but are limited to specific aspects of EF. This supports a process-specific (but modality-general) relationship between musical ability and non-musical aspects of cognition.GRAMMY Foundatio

show abstract

“…From this beginning, many experiments based on the I-R model ensued (e.g., Cuddy & Lunney, 1995;Krumhansl, 1991bKrumhansl, , 1995aKrumhansl, , 1995bKrumhansl, , 1997Krumhansl et al, 2000;Pearce & Wiggins, 2006;Schellenberg 1996Schellenberg , 1997Schellenberg et al, 2002;Schmuckler, 1989;Thompson, Balkwill, & Vernescu, 2000;Thompson, Cuddy, & Plaus, 1997;Thompson & Stanton, 1998). For other important studies on melodic implication, see Carlsen (1981), Larson (2004), Margulis (2005), and Unyk and Carlsen (1987). following way.…”

Section: An Analytical Examplementioning

confidence: 97%

Toward a Unified Theory of the I-R Model (Part 1)

Narmour

2015

Music Perception

View full text Add to dashboard Cite

By extensively revising the I-R model of melody (Meyer, 1973; Narmour, 1984, 1989, 1990, 1991a, 1991b, 1992, 1996, 2000) we can explain the structural functions of many musical parameters. Here I will deal with melodic interval, registral direction, pitch height, scale-step (major and minor), duration (interval, length, rate, speed, and pace), tempo, dynamics (loudness), and texture (saving the other parameters for a later essay). By reconceptualizing the model’s core concept of functional directionality within parametric scales, only three isomorphic structural analogues become cognitively necessary, namely, process (and its variant duplication), reversal, and return. Attached signs (0, ∼, −, and +) augment the main symbols (P, D, and R) so as to track strength of implication, realization, and denial. A new theory of rhythmic structure is put forth. And with an aim toward theoretical unification, the reconfigured model confronts the combinatorial complexities of parametric interactions and offers convincing interpretations of congruence and noncongruence—the primary sources of musical affects. Works of Brahms, Debussy, Mussorgsky-Ravel, and Schoenberg are analyzed.

show abstract

A Model of Melodic Expectation

Cited by 130 publications

References 46 publications

The Influence of Different Structural Features on Felt Musical Tension in Two Piano Pieces by Mozart and Mendelssohn

The Influence of Different Structural Features on Felt Musical Tension in Two Piano Pieces by Mozart and Mendelssohn

Tuning the mind: Exploring the connections between musical ability and executive functions

Toward a Unified Theory of the I-R Model (Part 1)

Contact Info

Product

Resources

About