Information as a Measure of Structure in Music

Coons, Edgar E.; Kraehenbuehl, David

doi:10.2307/843197

Cited by 21 publications

(5 citation statements)

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“…However, a listener’s perception (e.g., of the first note) cannot be influenced by music she has not yet heard (e.g., the last note), so her knowledge and expectation changes with each new note (Meyer, 1957). To address this, Coons and Kraehenbuehl calculated dynamic measures of information (predictive failure) in a sequence (Coons & Kraehenbueh, l958; Kraehenbuehl & Coons, 1959). However, it remains unclear whether the method could be implemented and generalized beyond their simple examples.…”

Section: Learning Memory and Expectation For Musicmentioning

confidence: 99%

Auditory Expectation: The Information Dynamics of Music Perception and Cognition

Pearce

Wiggins

2012

Topics in Cognitive Science

191

181

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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.

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Section: Learning Memory and Expectation For Musicmentioning

confidence: 99%

Auditory Expectation: The Information Dynamics of Music Perception and Cognition

Pearce

Wiggins

2012

Topics in Cognitive Science

191

181

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“…27. It is reasonable to hypothesize that such expectations become better adapted as a work progresses (see Coons and Kraehenbuehl, 1958;Huron, forthcoming). 28.…”

Section:    mentioning

confidence: 99%

Implication and expectation in music: a zygonic model

Ockelford

2006

Psychology of Music

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This article examines implication and expectation in music, taking as its starting point music-theoretical and music-psychological work ranging from the seminal thinking of Meyer (1956, 1967, 1973) to its development in the theories of Narmour (1990, 1992) and subsequent empirical and theoretical investigation by, for example, Schellenberg (1996, 1997), Von Hippel and Huron (2000) and Aarden (2003). Other psychological approaches, such as those adopted by Jones (1981, 1982, 1992) and Bharucha (1987, 1999), are considered too. The most important contemporary reference point, however, is Huron’s latest extended thinking on expectation (forthcoming), which summarizes, consolidates and develops a wide range of theoretical and empirical work in the field. These diverse perspectives on musical implication and expectation are analysed using the ‘zygonic’ theory of musical understanding recently developed by Ockelford (for example, 1999, 2002, 2004, 2005a, 2005b). This holds that the cognition of structure stems from a sense of derivation arising from the presence of repetition in certain contexts. Using this framework, a new, composite theory of expectation in music is developed, which acknowledges the potential implications of three sources of regularity in music: patterns within groups of notes, and between them - as encoded in short-term memory and long-term, both veridically and schematically. Finally, the phenomenological relevance of the new model to ‘typical’ listening experiences is discussed, and the need for future empirical work is set out.

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“…The sequence of arousal-increasing and arousal-decreasing devices and the psychological nature of the interaction between them are most evident in the temporal arts of music and literature, and the most thoroughgoing attempts to analyze them have been applied to music in particular [47,107,1291. But there are obvious isomorphisms between the principles of composition and structural artifices that are found in the temporal arts and those that are found in the spatially organized visual arts.…”

Section: Aestheticsmentioning

confidence: 99%