1957
DOI: 10.2307/843099
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Emotion and Meaning in Music

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Cited by 14 publications
(2 citation statements)
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“…However, it is interesting to note that often artists seem to implicitly exploit the aesthetic pleasure arising from the reduction of sensory uncertainty in their compositions. Musicians, for example, continuously and deliberately violate our predictions during the evolution of a musical piece, thus letting us experience aesthetic pleasure whenever we are able to insightfully restore predictability and solve sensory uncertainty by updating our predictions (Huron, 2006; Kraehenbuehl & Meyer, 1957; Sarasso, Neppi-Modona, et al, 2020). Visual artists also create subtle violations of our expectations in the style and content of their pieces, possibly as a means to elicit the transition from prediction violations to reinstated predictability (Kesner, 2014; Van de Cruys & Wagemans, 2011).…”
Section: Discussionmentioning
confidence: 99%
“…However, it is interesting to note that often artists seem to implicitly exploit the aesthetic pleasure arising from the reduction of sensory uncertainty in their compositions. Musicians, for example, continuously and deliberately violate our predictions during the evolution of a musical piece, thus letting us experience aesthetic pleasure whenever we are able to insightfully restore predictability and solve sensory uncertainty by updating our predictions (Huron, 2006; Kraehenbuehl & Meyer, 1957; Sarasso, Neppi-Modona, et al, 2020). Visual artists also create subtle violations of our expectations in the style and content of their pieces, possibly as a means to elicit the transition from prediction violations to reinstated predictability (Kesner, 2014; Van de Cruys & Wagemans, 2011).…”
Section: Discussionmentioning
confidence: 99%
“…Despite the well‐documented impact of music on the brain's pleasure system and the important role that music listening plays in the lives of children and adolescents as a source of enjoyment (Erkkila & Saarikallio, 2007; Giacometti et al, 1981; Miranda & Claes, 2009; North et al, 2000), the neuroimaging studies focused on music listening conducted thus far have been focused mainly on adults. The only study with music listening in children (as distinguished from simple music discrimination tasks studies) that has been done by now has showed, by means of a general linear model, increased BOLD signal in the OFC in 10‐year‐old children when exposed to irregular chords (unexpected harmonic functions) versus regular chords (Koelsch et al, 2005), corroborating the hypothesized ability of musical expectancy violation to engage emotional processing (Kraehenbuehl & Meyer, 1957; Krumhansl, 1997). However, the stimuli used in that study consisted of artificial chord sequences, therefore partially missing ecological validity.…”
Section: Discussionmentioning
confidence: 99%