Conclusion (II)
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some of these expectations arise from seemingly
universal aspects of musical organization;
such as the reliance on pitch, auditory streaming, etc.
-
other expectations arise from culture-related
environments; such as scale systems, rhythmic conventions, etc.
-
the prediction programs listeners develop may be only
approximately true (e.g. the expectation for post-skip reversal)
-
musicians can play with existing expectations:
E.g. contra-tonal structure of 12-tone rows
-
individual works can create their own expectations;
E.g. habituation/dishabituation
-
pleasure, anxiety, tension and release
can be evoked by manipulating the predictability
of specific events
(Meyer, 1956)