This project investigated the statistical learning of musical expectancy. As a secondary goal, the effects of the perceptual properties of tone set familiarity (Western vs. Bohlen-Pierce) and textural complexity (melody vs. harmony) on the robustness of that learning process were assessed. A series of five experiments was conducted, varying in terms of these perceptual properties, the grammatical structure used to generate musical sequences, and the methods used to measure musical expectancy. Results indicated that expectancies can indeed be developed following statistical learning, particularly for materials composed from familiar tone sets. Moreover, some expectancy effects were observed in the absence of the ability to successfully discr...
Research in music cognition domain has shown that non musician listeners have implicit knowledge abo...
Engineering and Physical Sciences Research Council (EPSRC) funding via grant EP/M000702/1
The present study investigates whether expectations based on listeners’ schematic knowledge of music...
This project investigated the statistical learning of musical expectancy. As a secondary goal, the e...
Abstract Two experiments explored the relation between melodic expectancy and melodic memory. In Exp...
The ability to anticipate forthcoming events has clear evolutionary advantages, and predictive succe...
Expectation, or prediction, has become a major theme in cognitive science. Music offers a powerful s...
We report on a study conducted to extend our knowledge about the process of gaining a mental represe...
Although the relation between tonality and musical memory has been fairly well-studied, less is know...
Melodic expectations are important in creating patterns of tension and relaxation. The way expectati...
It has been argued that children implicitly acquire the rules relating to the structure of music in ...
Melodic expectancies among children and adults were examined. In Experiment 1, adults, 11-year-olds,...
Western listeners become sensitive to the regularities of the Western tonal system by mere exposure ...
This dissertation utilizes a multi-method approach to investigate the processes underlying musical l...
We investigated how the surface and structural information of pitch and time in melodies contribute ...
Research in music cognition domain has shown that non musician listeners have implicit knowledge abo...
Engineering and Physical Sciences Research Council (EPSRC) funding via grant EP/M000702/1
The present study investigates whether expectations based on listeners’ schematic knowledge of music...
This project investigated the statistical learning of musical expectancy. As a secondary goal, the e...
Abstract Two experiments explored the relation between melodic expectancy and melodic memory. In Exp...
The ability to anticipate forthcoming events has clear evolutionary advantages, and predictive succe...
Expectation, or prediction, has become a major theme in cognitive science. Music offers a powerful s...
We report on a study conducted to extend our knowledge about the process of gaining a mental represe...
Although the relation between tonality and musical memory has been fairly well-studied, less is know...
Melodic expectations are important in creating patterns of tension and relaxation. The way expectati...
It has been argued that children implicitly acquire the rules relating to the structure of music in ...
Melodic expectancies among children and adults were examined. In Experiment 1, adults, 11-year-olds,...
Western listeners become sensitive to the regularities of the Western tonal system by mere exposure ...
This dissertation utilizes a multi-method approach to investigate the processes underlying musical l...
We investigated how the surface and structural information of pitch and time in melodies contribute ...
Research in music cognition domain has shown that non musician listeners have implicit knowledge abo...
Engineering and Physical Sciences Research Council (EPSRC) funding via grant EP/M000702/1
The present study investigates whether expectations based on listeners’ schematic knowledge of music...