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8/19/2019 Expectance
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teorema
Vol.
XXXI/3,012,
p.
49-163
ISSN: 210-1602
[BIBLID
210-1602
2012)
1:3;
p.
49-163]
Expectation
and
Anticipation
As
Key
Elements
for
the
Constitution
of
Meaning
in
Music
Elisa
Negretto
Resumen
Utilizando
n
nfoque ultidisciplinar
ue
ombina
a
fenomenología,
a musico-
logía
a
psicologíaognitiva
e a
música,
bordonel
presente
rtículoos
aspectos
siguientes:de
qué
maneraos
oyentes
econocenn su
propia
xperienciaerceptiva
musical
n
ignificado
special?,, cuáles
on os
spectosrincipalesue
determinan
el
significado
ubjetivoue
una
xperiencia
usical
dquiere
nuncontextoenuna
situación
specíficos?
entrándome
n a maneran
que
os
oyenteserciben
a
música,
miobjetivorincipals encontraros elementoslave ue nfluyenn a creacióne
significado
e las
experiencias
usicalesotidianas.
n
particular,
nalizo n
proceso
cognitivospecialmentemportante
ara
a construcciónel
ignificado
urantel desa-
rrolloe un cto
erceptivo:
l
proceso
e a
expectación.
e este
modo,
ropongo
na
distinción
onceptual
ntre
expectativa anticipación ,rgumentando
ue
una
y
otra
influyen
emaneraiferente
n a
experienciaerceptiva
e a música
,por
anto,
n l
significadoue
sta
dquiereara
ada ndividuo.
Palabras clave:
expectación,nticipación,
onstitución,
ignificado,
xperiencia
perceptiva.
Abstract
Through
n
interdisciplinarypproach
nvolvinghenomenology,usicology
and
ognitivesychology
f
music,
his
aper
xamines
he
ollowinguestions:
ow
do istenersecome
ware
f heir usical
erceptualxperience
s
having specific
meaning?
nd,
what re hemain
spects
onstituting,
ithin
particular
ontext
nd
a set f
ircumstances,
he
ubjective
eaning
f musical
xperience?ocusing
n
the
way
isteners
erceive
usic,
his
aper
ims o find he
key
lementshatnflu-
encehow
meaning
s
shaped
n
everyday
usical
xperience.
he
paper nalyzes
x-
pectation, cognitiverocess
hat s
particularly
elevantor he
constitutionf
meaninguring
he
nfolding
f he
erceptual
ct.
inally,conceptual
istinctions
proposed
etween
expectation'
nd
anticipation',
nd
t
s
argued
hat
hey
make if-
ferentontributionso he
erceptual
xperience
fmusic
nd,
herefore,
o
hemean-
ingmusiccquiresor he ubject.
KEYWORDS:
xpectation,
nticipation,
onstitution,
eaning,erceptualxperience.
149
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8/19/2019 Expectance
http://slidepdf.com/reader/full/expectance 2/14
1
0
Elisa
Negretto
I. Introduction
The human
erceptualxperience
s a fundamental
rocess
f
knowledge
that llows
the mmediatewareness
f
an event
r
object
n
theworld o be
understoods
meaningful.
ccording
o
Gallagher
ndZahavi
2008),
percep-
tion
oes
beyond simple eception
f
nformation;
t
s a
process
n
which
n-
terpretations
hange ccording
o context nd
may directly
e influenced
y
previous
xperiences.
Focusing
n individual
uditory erception,very erceptual
wareness
of a
particular
ound
xperience
musical
r
otherwise)
as a
specific
mean-
ing
for he
ubject.
hanks
o
complex
mental
rocesses
such
s
expectation,
anticipation
nd
grouping)
nd
perceptual
tructures
such
as
intentionality
and
temporal
tructure),
eanings
re
constituted'
n
consciousness ithout
themediation f
conscious
hought.
Related
o the
problem
f where
meanings
ome
from,
usserl'
inter-
pretation
f time-consciousness
s an
attempt
o
reply
o the
question:
how,
in
a flow
of
consciousness,
s the wareness
f a
temporally
xtended
bject
constituted?
Brough
2005),
p.
248].
And
n
thecase
of music he
question
becomes:
how s the
perceptual
wareness
f a musical vent
a
temporally
extended
bject
constitutedy subjectna complex uditorynvironment?
'Constitution'
s a
concept
used
by
Husserl
o
explain
the
origin
f
meanings
Sokolowski
1964)].
It
is an articulated
rocess
f consciousness
that
overns
he
way
meanings
ome
to be
-
how human
eings
re
awareof
their
xperience
n theworld s
meaningful.
In
regards
o musical
xperience,
hrough
he
process
of
constitution,
listeners nderstand
equences
f sounds
s music
byperceptuallyrganizing
them
ntomusicalforms.
n this
way,
auditory xperiences
cquire pecific
meanings:
firstly,
hat
of
being
musical
experiences.
isteners'
musical
knowledge
nd
past experiences
lso
concur o form
more
omplex
mean-
ingframedntheparticular omentnd context.Musicmaybe something
familiar,
motionallyowerful,
r have a
specific
musical
meaning
like
be-
ing
n sonataform
r the
ong
of a
famous
ongwriter).
nterestingly,
t
the
perceptual
evel,
isteners
o not
need to
consciously
eflect
n their
xperi-
ence
n
order
o be aware
f such
meanings.
This
brings
s
to examine
how listeners
rganize
uditory
races nd
how this
organization
nfluences
he kind of
meanings
musical
or extra-
musical)
that
xperiences
f sound
acquire
at the
perceptual
evel.
In line
with he
development
f the
cognitive
sychology
f music
nd a
phenome-
nological
nderstanding
f
thehuman
erceptual
tructures
f
consciousness,
aninterestingaytoengage n this nquirysby nvestigatinghemainmen-
tal
processes
hat etermine
he
onstitution
f
meanings.
First,
his
equires
n
analysis
f various
elevant
mpirical
tudies nd
hypotheses
onsidering
hat isteners
entally
o to
hearmusic:
which
er-
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8/19/2019 Expectance
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Expectation
nd
Anticipation
s
Key
Elements
or
..
151
ceptual
tructuresre
nvolved nd
which
ognitive
rinciples
re used. The
main
goal
of this
paper
s to find he
key
elements
hat nfluence
isteners'
constitution
f
meaning
nd the
specific,
ubjective
meaning
musical
x-
perience
cquires.
n this
way
we
may
better
nderstand here
meanings
come
from nd how human
eings
know nd become
familiar
ith
heworld
they
nhabit.
II.
The Expectation Process
Music s
composed sing
ndividual ounds hat
re heard
s
a continu-
ously
onnected
hole.
t
presents
tself s
a
continuous
rocess
n
which,
t
every
moment,
hat
people
hear
follows
n
a
compelling
way
from
what
came before.
hanks o
specific erceptual
mechanisms,
ognitive rinciples
and neural
rocesses,
istenersre able to find
elationships
mong
he ound
events
ccurring
n
the coustical nvironment.
n
this
way
they ntegrate
he
sounds
hey
ear nto structuralhole and
thereby
nderstandhe cousti-
cal environment
n
terms fmusical tructures.
A
specific ognitive rocess,
hat f
expectation,
eems
o be
particularlyrelevant or oth he
understanding
nd constitutionf
meaning uring
heun-
folding
f the
perceptual
ct.
n
itsbroader
ense,
xpectation
ay
be consid-
ered as a basic
strategy
f the humanmind that
reflects
tendency
an
intentional ovement
oward he
future.uch movements based on
previous
experiences.
uring
he
perceptualrganization
f
sounds,
istenersreate x-
pectations
bout he uturefthe
ngoing
music r
ncoming
ound
vents,
hus
influencing
oth
he
way
relationships
etween ounds
remade ndthemean-
ing
emotional,
usical r
otherwise)
heir
uditoryxperience
ay cquire.
The
majority
f theories
Meyer
1956),
Narmour
1990; 1992),
Huron
(2006)]
and
empirical
tudies
Margulis2003),
Larson
2004),Margulis
&
Levine
2004),
Unyk
& Carlsen
1987),
Krumhansl
Agres
2008)]
have
explained
musical
xpectations
ithin
he framework
f the Western
onal
syntacticystem
nd
n
accordancewith
he tructural
egularities
hat isten-
ers learn
through
ultural
xposures.
Many empirical
tudieshave
demon-
strated hat isteners
evelop
ome sort f
basic structural
nderstanding
t
the
perceptual
evel.
Expectations
re built n the
basis of
syntactic
elation-
ships
etween
musical ounds nd
their
requency
f
occurrence.
Following
his
perspective,
musical
meaning
s
the
product
f
expec-
tation
when musical
vent
oints
o
and makesus
expect
nother
musical
event.
n
Meyer's
words,
the
ignificance
f a
musical vent
be
it
a
tone,
motive, phrase, r a section lies inthefact hatt eadsthepracticedis-
tener o
expect,
onsciously
r
unconsciously,
he
arrival f a
subsequent
event
as
cited
n
Levinson
1997),
p.
53].
Listeners'
xpectations
re
based
on the
way
they
onnect heir
nowledge
f
musical
tyle
with
probability
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8/19/2019 Expectance
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1
2
Elisa
Negretto
about future ventsbased on statistical
requency.
he actual
expectations
felt
y
istenersre a
consequence
ftheir
ast xperiences.
The mostwell-knownheories
Meyer
1956),
Narmour
1990; 1992),
Huron
2006)]
characterize
xpectation
s a
process
hat
trongly
nfluences
listeners' motional
nd
affective
esponse
o
music,
hus
determining
he
constitutionf extra-musical
eanings.According
o
Meyer,
motions re
aroused
n
the istener hen
tendency
o
respond
o a stimulus
an
expecta-
tion
is arrested r inhibited.
n
a tonal
ontext,
or
xample,
isteners e-
velop
a
sense of
musical
xpectation
hat
s derived rom onalhierarchies
(e.g. tonic, ubdominant,ominant).ven in this ase, expectationsnvolve
syntacticelationships
etween ifferent
arts
fthemusical
tructure.
he ful-
filmentr violation f an
expectation ay
rise
n
the istener
articular
mo-
tions. or
nstance,
heviolation f n
expected
melodic ttack
riggersstrong
feeling
f
urprise
hat
might
e
followed
y particular
motional
esponse.
Works ike
Haydn's ymphony
o.
94 in
G
major
Surprise ymphony
1791)
show
how
expectations
nd their iolations nfluence he emotional
meaning
f the listener'smusical
experience.
ue to the
way
it is
con-
structed,
hework ets
up
some
work-specificxpectations
hat
re then io-
lated. For
example,
he
Symphony's
main theme
appearing gain
in
the
secondmovement contains n isolated ortissimohord,whichdoes not
commonly
ccur
n
slow,
quiet
music.This solated hord auses
a
senseof
surprise
a
cognitivelysimple'
emotion,
nd a common
esponse
o unex-
pected
timuli
hat
may
be followed
y
other motions uch as
fear,
oy,
or
sadness.
An
important
actor
ontributing
o the
surprise
s the
composer's
previous
ntroductionf thisthemewithout he
presence
f the fortissimo
chord.
Fig.
1
Maintheme rom .
Haydn's ymphony
°
94
('Surprise'),
econd
movement
Andante),Huron 2006),
p.
278].
InVuust nd Frith's pinion,musical xpectations a goodcandidate
for he fundamental echanism
uiding
he
experience
f musical
meaning
as well as emotion
(2008),
p.
600].
In
particular,
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Expectation
nd
Anticipation
s
Key
Elements
or..
153
. mostmusic
heoreticiansonsider usical
nticipation
s one f he
rincipal
means
y
which
music
onveys eaning
nd motion.
ccording
o this
oint
of
view,
nderstanding
usics relatedo he
nticipatorynterplay
etweeno-
cal
auditory
ventsnd
deeper
tructural
ayer artly
nherentn hemusic
t-
self,
nd
partlyrovidedy
mentaltructures
n
he isteners
hats nduced
y
music.
n
short,
hemusical
xperience
s
dependent
nthe tructures
f he c-
tual
music,
s well s on he
xpectations
f he
nterpreting
rain. hese
xpec-
tationsre
dependent
n
long-termearning
f musical tructures
culture-
dependent
tatistical
earning),amiliarity
ith
particulariece
f
music,
nd
short-term
emory
or he mmediateusical
istory
hile
istening
o musi-
cal
piece,
s well s on deliberate
isteningtrategies.
rain tructures
nderly-
ing
musical
xpectation
re
thus
haped y
culture,
s well as
by personal
listeningistory
ndmusical
raining
Vuust
Frith
2008),
.
599].
The authors ot
nly uggest
herelevance f
expectation
or he
onstitution
of
meaning,
ut ndicate
most
f
the
spects
hat nfluence
he
process:
ub-
jectivity,
ormalmusical
tructures,
earning
nd
culture,
emory
nd
tempo-
ral
development.
he basic
idea
is that
meaning
n
music s
constituted
n
real-time
ynamic rocesses,
nd
expectation
s
particularly
elevant
n
de-
termining
uch
meaning.
Whatbecomes pparents that hese uthors likemany thers use
not
only
he erm
expectation'
ut
ven
anticipation'
ithout
learly
istin-
guishing
hem.
n
what
follows,
efraining
rom n
extensive
iscussion n
musical
xpectation
heories nd
empirical
tudies,
will
question
he ana-
lytical
erms
nticipation
nd
expectation
ith
he aim to
provide
helpful
distinctionor
better
omprehension
f
the
way
cognitive rinciples
nflu-
encethe
ubject's
musical
xperience
nd the
onstitutionf
meaning.
III. Expectation versus
Anticipation
In
the
Glossary
f
hisbookSweet
Anticipation:
usic
nd the
sychology
of
Expectation
David
Huron
ives
the
following
efinition
f
anticipation':
1.
The
subjective xperience
ccompanying
strong xpectation
hat
par-
ticular ventwill
occur;
lso referredo
as the
eeling f
anticipation.
.
In
Western
music
heory, type
f melodic
mbellishmentn
which
n
expected
note s
immediatelyreceded
y
the ame
pitch.
.g.
The ta
n
the
ta-dah
cadence
[(2006),
p.
409].
He also
relates
anticipation'
o
'premonition',
which e
defines s a
long-rangeeeling
f
nticipation[(2006),
p. 418].
In
the
glossary
we do not
find
definitionf
expectation',
ven
though
oth
expectationnd anticipationre fundamentaloncepts n Huron'stheory.
They
both
ppear
n
the
itle f his
work
Sweet
Anticipation.
usic and
the
Psychology
fExpectation)
n
a
way
that
uggests
uron
iews
anticipation
as a
particular
ind
sweet
nticipation)
r
part
f a
general
rocess
f
expec-
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1
4
Elisa
Negretto
tation
for
which here s a
'psychology
f).
Through
careful
nalysis
f
the
book,
t
emerges
hat sweet
nticipation'
as a
specific
echnical efini-
tion:
t
refers o the
positive eelings
hat risefrom onscious
hought
bout
some future
vents,
uch
as the
thought
f
attending
concert.
ence,
t
is
considered
s a
special
subset f
expectation.
nfortunately,
urondid not
dwelltoo much
n
particularypes
f
expectation;
verall he
ubject
matter
of his book
is betterdentified
y
the subtitleMusic and the
Psychology
f
Expectation.
owever,
he
verypresence
f a definition
f
'anticipation'
means thatHuron
makes a distinctionetween
he two terms
n
question,even
though
hey
re not
clearly
distinguished
n his work.One wonders
what
kind f distinctione makes
ndhowthis
istinction
ay
be relevanto
a better
omprehension
f the
musical
xperience. learly, hey
re
part
f a
general
endency
f human
eings
o
plan
for
hefuture.
n
generating
hem,
individuals
xpect
heir
lans
to
come to fruitionince
they
re both
part
f
the
ubject's
ntentional
ovement
owards hefuture.
I
suggest
hat,
n
a broader
ense,
xpectation
efers o a
complex
men-
tal
process
hat
s fundamental
or he
omprehension
f music.
n itsnarrow
sense,
xpectation
s a
mental tate
f
suspense
bout
what s
going
n,
dur-
ing
which
range
f
probable
vents re
expected
o
happen.
Anticipation
s
a
particular
oment
uring
he
process
of
expectation:
tis themomentn
which
isteners
epresent
n theirmind
ow
precisely
hemusicwill
go
on.
The
specificity
f
expectation
ersus
anticipation
an be
better x-
plained
y
analysing mpirical
tudies
n
thefield f
cognitive sychology
f
music hat ocus
n
musical
xpectation
ith he
upport
f
the
phenomenol-
ogical
account
fthe
emporal
tructure
fhuman
onsciousness:
he
descrip-
tionof
the tructure
f
the
emporal
low f consciousness
hich llows for
the
perception
f
enduring bjects
as
they
re
experienced
y
the
subject
[Husserl
1893-1917)].
An
aspect
f
the
perceptual
xperience
f
music,
which s at
thebasis of
the onstitutionf
subjective
musical
meanings,
s its structuralnfoldingn
time.
isteners
onstitute
heir
erceptual
omprehension
f music
during
ts
temporal
evelopment;
hat
s,
the moment-to-moment
nfolding
f sound
events
e.g.
a
note,
noise or
a
sequence
f
sounds)
hat ccur
n
their
iving
auditory
nvironment.
The
temporal
tructure
f
human onsciousness
eems
o
develop
tself
at
two evels
of
complexity.
t thefirst
evel,
due
to themovement
f
reten-
tion-primal
mpression-protention,
he
isteners
able to
perceive
sequence
of acoustic
vents
s
an
enduring
bject.
uch events
re thus
xperienced
s
a
unity ersisting
n
time.
At the econd
evel,
memories
f
past
experiences
and expectationsboutthe futurere involved n order o constitutehe
meaning
which hat
xperienced
bject
has for
he
subject.
Both
evels of
complexity
re
part
f he
erceptual
ct
nd,
hanks
othe
ontribution
fother
cognitive
rinciples,
hey
llow
for
meaningful
rganization
f sounds
n
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Expectation
nd
A
nticipation
s
Key
Elements
or...
155
time. hesetwo evels
re
strictly
elated:
econdary emory
nd
expectation
elaborate
nd
olidify
hat
hemore
rimitive
orms irst ake vailable.
IV. Differences Between
Expectation
and
Anticipation
VI.
1
Object fReference
Expectation
nd the
attempt
o
anticipate
he future an be
explained
through
he
phenomenologicaloncept
f
temporal
horizon',
which s
part
of the
temporal
tructure
nd
represents
he
place
where ntentional ove-
ment oward n unknown utures
developed.
At
thebasis of
this
oncept
s
the dea
that,
s
Miller
writes,
objects
re
perceptuallyxperienced y
us
inadequately :
t
anygiven
moment he
object
s
always
xperienced y
us
as from certain
erspective,
s
having
more o
it
than s
captured y
our
perceptual
ct at thatmoment
Miller 1984),
p.
82].
We have an
incomplete
perceptual
xperience
hat nvolves n
intentional ovement
oward he
pos-
sibilities hat ould
fulfil he ontent f our
perceptions.
he horizon an thus
be understoods a setof
possibilities
o
which he
onsciousness
oints
ur-
ing
the
perceptual emporal
xperience.
t consists f a
pattern
f recollec-
tions nd
expectations
egardingast
nd future
xperiences
n
relation
o the
present
ct of
perception,
hose content
ontinually
hanges
s the
percep-
tual
experience
rogresses.
Moreover,
t
guarantees
he
subjective spect
of
the
xperience
nd shows he
nfluencef
earning
nd
past
xperiences.
Due to
these
features,
he
concept
f horizon
may
be
related o the
probabilistic
spect
f the
xpectation
rocess,
which s
captured
y
the on-
cept
of statistical
earning.
n
his
psychological
heory
f
expectation
the
ITPRA,
which
ttempts
o
explain
how
expectations
voke
various
feeling
states),
Huron
rgues
hat he
process
f
expectationepends ponauditory
learning:
istenersearn he
regularities
f thesoundenvironmentnd
they
are sensitive o
the
probabilities
f
differentound
vents nd
patterns.
hese
probabilities
re then
sed to form
xpectations
bout
hefuture.
herefore,
what isteners
xpect
might imply
eflect
what
they
have
most
frequently
experienced
n
the
past.
For
example,
tudies ave shown
hat
isteners'
peed
of
response
verbal
r
otherwise)
s
faster hen
hey
re
exposed
o musical
material
hat remore
requentlyresent
n
themusic
f heir
ulture.
Based on
the
oncepts
f
horizon',
tatistical
earning
nd
the dea that
in
expecting
futurevent
here s
somekind f
referenceo
its
being',
one
important
ifferenceetween
xpectation
nd
anticipation
merges. propose
that xpectationefers o something ossible,butnot welldefined,nd be-
longing
o a
range
f
probabilities
ithin
he
ndefinite
ossibilities
f
theho-
rizon,
while
anticipation
ttends
o a
specific
vent n
the
future hich
s
already
known.
herburne,
or
xample,
ses
anticipation
o
suggest
he
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156
Elisa
Negretto
awaiting
f a known utcome nd seems to contrast
t
with
expectation ,
which
uggests
hat he
range
of
probable
vents s known ut the
unique
event s not
Titchener
Broyles
1973),
p.
18].
In
trying
o understand hat
having
n
expectation'
means,
Huron
d-
dresses he
questions:
how
precise
re
expectations?
o we
expect pecific
events,
r do we
expect
classes or
types
f events?
(2006),
p.
41].
He
firstlyeplies
o such
questions y observing
hat
one
definitionf
expecta-
tion
might
lassify
t
s
a form f mental
r
corporeal
belief that ome vent
or class of events s
likely
o
happen
n
thefuture
(2006),p. 41].
The term
'belief
may
refer o a
range
f
expected ossibilities
ithdifferent
egrees
of
certainty
bout he occurrence
f a futurevent.Beliefs bout hefuture
are evident
n
a
person's
action-readiness' that
s,
changes
f
posture,
me-
tabolism,
r
conscious
houghts
hat
repare
he ndividual or ertain
ossi-
ble
outcomes,
utnotfor thers.
xpectation,
hen,
llows isteners
o
believe
that
omething
ill
happen
nd to
prepare
hemselves
o
respond,
ut this
does notmean
hat
hey epresent
specific
vent
n theirmind. o sum
up,
expectation
efers o
a
series
f
possibilities
nd
t
ndicates mental tate
n
which hemost
ikely
vents o occur re
expected.
In
Meyer's
view,
expectations
re
not
specific,
ut
ndicate
general
stateof
suspense:
what s
expected
n thisstateof
suspensemay
not be
specified,
ut
thisdoes not
mean that
ny consequent
s
possible
Meyer
(1956),
p.
29].
Listeners ense
hat
omething
ill
happen,
nd
althoughhey
are not aware of
exactly
what he
expected
musical
vent
will
be,
they
re
sensitive o a
range
f
possibilities
hich re built n
thebasis of
previous
experiences. uspense,
n
fact,
s a
product
f
ignorance
bout
upcoming
events,
rom hich
trong
mental endenciesoward
hefuturerise.
Huron efines
nticipation
s the
ubjective xperienceccompanying
strong xpectation
hat
particular
ventwill occur:
according
o standard
phenomenological
ccounts,
nticipation
efers o the most
probable
ccur-
rencewithin he ndefiniteossibilitiesf the horizon ndtheprobabilities
offered
y
immediatelyrevious
xpectations. nticipation
an thusbe
re-
lated
o some
specific
vents
nd the act' of
anticipating
hem
for
xample,
through
mental
epresentation),
hile
xpectation
s a 'sense' about
future
that s not
learly
efined.
In theframeworkf
the
probabilistic
haracterfthe
xpectationrocess
and
the tatistical
orkings
fthe
human
mind,
argue
hat
isteners
evelop
statistical
ierarchy
f
possible
vents hat
uides
he
pattern
f
probabilities
and determines
heir
xpectations
r
anticipations.
his
helps
them,
or x-
ample,
o
predict
he
ikely emporal
lacement
f future usical
vents.
he
hierarchyfpossibilitieshat ubjectsmaintain uringheir xposure othe
auditory
nvironment
as
a
strong
ubjective
haracterecause
t
s based
on
an individual
ubject's
knowledge
nd
experiences.
hus,
n
the ase
of
very
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Expectation
nd
Anticipation
s
Key
Elements
or..
157
familiar
music,
isteners
an
have
quiteprecise
nticipations
ue to thecon-
tributionf
earning
nd
memory.
IV.
2
Awareness nd
Mental
Representation
In
order o
further
ackle he
distinctionsnd similaritiesf
anticipation
and
expectation,
wo
mportant
uestions
eed to be addressed:
irst,
re is-
teners
wareof
their
xpectations
nd
anticipations?
econd,
s the
object
f
one's
expectation
r
anticipationerceivedy
the
ubject?
Considering
he ast
question
irst nd
following
phenomenological
perspective,
xpectation
nd
anticipation
re both
ctsof
consciousness,
art
of a
cognitive
rocess
hat
evelops
tself
uring
he
perceptual
ct.
However,
they
o not
correspond
o the
perception
f
a future
ventbecause
such an
event s not
yet
ensorilyxperienced
or t
s
present
o
consciousness.
The vast
majority
f
expectations
re
unconscious;
hey
re
occurring
all the
timewithout
xplicit ognitive
wareness. he
perceivers
an,
how-
ever,
be
aware of
experiencing
stateof
expectation
nd
suspense
bout
something
n
the
future,
hich s not
exactly
nown.
ecause of such
uncer-
tainty,
he tate f
expectation
oes not
correspond
o a mental
epresentationofwhichhe
erceivers
an beaware f.
We
may
therefore
efine
xpectation
s a
pre-presentation
f
future,
not-clearly
efined
vents
belonging
o a
range
of
possibilities
ontained
within
he
subject's
horizon. t
results n
a mental
tate f
suspense
uring
which
range
f
possibilities
re
pre-presented
n
consciousness:
here s a
kind f
referenceo
these
uture
vents,
utnot
present
erception
f them
or
the
wareness hat
omethingpecific
s
going
o
happen.
This
theoretical
odel s
supportedy
empirical
tudies hat
uggest
hat
x-
pectation
efers
o a state f
tension
bout
whathas to
come,
but
t
s
nota
conscious
representation
f
a
specific xpected
vent
Margulis
&
Levine
(2004),
Barnes& Jones
2000)].
I
propose
hat
nticipation
s
mental
epresentation
ay
ead to
listen-
ers'
awareness
f a
mental
rojection
bout
future
redicted
vent.
Antici-
pation
hus
becomes he
actionof
mentally
epresenting
highly
xpected
event
r a
known
utcome
efore ts
occurrence
n
time.
t
s
based on a
past
experience
ith
imilar
musical
ituations
nd
follows
strong
xpectation.
It
is not
an act of
perception
ecause t
does not
coincidewith
he
sensory
experience
f
the
anticipated
bject
which
s
not
present
o
consciousness)
and it
does not
have
the
complex
tructure
f a
perceptual
ct.
More
pre-
cisely,
propose
o
consider
nticipation
s a
'quasi-perception'
f a
future
event hatwe 'perceive' n advance ndwithouttssensory ccurrencesn
the
moment
f ts
nticipation
n
our
mind.
However,
his
pproach
rings
nto he
forefront
he
problem
f
how to
consider
mental
epresentations.
n
general,
mental
epresentation
s an im-
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1
8
Elisa
Negretto
age,
a
concept
r a belief.
t
has a
strong ubjective
haracterhat
epends
upon
one's own
experiences.
s
previously
tated,
n
the ase of
anticipation
in
music,
herelatedmental
epresentation
s based on a
highly
xpected
u-
ture vent hat s
in some
way
similar o an
experience
n
the
past.
t
could
correspond
o a structuraleature f
the
music,
particular
nstrument,
meaning
r musical ontent
hat re related nd determined
y
the
ubject's
experience.
hus,
one has
mental
epresentations
f musicbecause one re-
latesa musical
vent
in
theform
f an
auditorymage,
ontent,
oncept
r
belief)
o
something
hat s or
has been
part
f his/her
ubjective xperience.It s inthis rameworkhat
nticipation
as to be understood.hisunderlines
the
ubjective
nd
experiential
haracterf
themental
epresentation
hat is-
teners
orm
n
response
o a musical
bject
s
a
way
to
anticipate
ts future
ongoing.
In
thefield
fmusic
ognition,
elodic
xpectation
s
generally
efined
as
the
endency
o have a
feeling
bout
what
might
ome next
n
a
melody
r
succession fharmonies.
or
example,
f
he
scending
musical
artial
ctave
'do-re-me-fa-sol-la-ti...'
s
heard,
isteners amiliar
ithWestern onalmusic
will
have
a
strongxpectation
o hear ne
more
note,
n
order o
complete
he
octave,
henote
do' an octave
higher
han
he do on which
hey egan.
This
expectation
ouldbe
very
trong. propose
o considerhe
general
eel-
ing
of
moving
oward
musical
oal
as
an
expectation,
nd the
trong xpec-
tancy
o
hear he
pecific
ote do' as
an
anticipation.
IV.3 Function
Another
mportant
spect
which
istinguishes
xpectation
nd
anticipa-
tion oncerns
heir unction.
his s clear
f
we
analyse
he
way subjects
re-
pare
hemselves
or he vent
utcome.
From
biological erspective,
n
the
ase ofmusical
xpectation,
,
as
a
listener,eel hat
omething
as tohappen ndso preparemyselfo react o
it,
whilenot
being
ure
what he
something'
s. When
nticipation
ccurs,
n
the other
and,
not
onlyprepare
myself
or
pecific
vents,
ut
react
o
them efore
heir ffective
ccurrence
Zanto,
nyder
Large
2006)].
It
follows
hat
xpectation
as the
biological
function
f
preparing
he
subject
o
respond
o a
probable
uture
vent,
while
anticipation
llows
the
subject
o
act
n
response
o
the
nticipated
vent efore
t
occurs.
In his
TRPA
theory
f
expectation,
avid
Huron
istinguishes
ive x-
pectation-related
esponse
ystems
hat re
evoked
t different
imes
during
the
expectation
ycle;
these
re divided
nto
pre-outcome
nd
post-outcome
responses ith espectothe vent nset. hepre-outcomeesponsesre:the
imagination
esponse
nd
the tension
esponse.
According
o
Huron,
he
former as
the
purpose
f
motivating
n
organism,
to behave
n
ways
that
increase
he ikelihood
f
future
eneficial
utcomes
(2006),
p.
15].
n im-
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Expectation
nd
Anticipation
s
Key
Elements
or..
1 9
imagining
ifferent
utcomes,
eeling
tates re thus ctivated.
he latter as
the
purpose
f
preparing
n
organism,
for n
impending
vent
y tailoring
arousal
nd attentiono match
he evel of
uncertainty
nd
importance
f an
impending
utcome
(2006),
p.
15].
As an
expected
vent
pproaches,
hysio-
logical
rousal
ypically
ncreases,
ften
eading
o a
feeling
f ncreased en-
sion.
The
post-outcome
esponses
nclude:
he
prediction
esponse
which
provides ositive
nd
negative
nducementshat
ncourage
heformationf
accurate
xpectations
nd evokes
feelings
n
relation o whether
ne's
predic-
tionswereborn ut; hereaction esponsewhich ddresses possibleworst-
case situation
y generating
n
immediate
rotective
esponse;
nd the
p-
praisal
response
which
provides
ositive
nd
negative
einforcements
e-
lated
o the
biological
alueofvarious
inal tates.
Fig.
2 The
schematic
ime ourse f
Huron's
xpectancyrocesses
Scott,
Tsou,
Schmuckler Brown
2008),
p.
138].
As is clear from he
TPRA
schema,
n
Huron's
view
expectation
s
a
complex
ognitive rocess
hat
s
characterized
yvery
pecific
moments
p-
erating
n
a continuous
hain f
dependentesponses receding
nd
following
the occurrence f a
particular
vent.
n
order o define
expectation'
n
its
narrowest
ense,
focus
my
ttention
nly
on the
pre-outcome
esponses.
n
particular,propose o consider oth xpectationndanticipations imagi-
nation
esponses
hatmaintain
ifferentunctions.
he
anticipation
magina-
tion
response,
or
example,
s
very mportant
o survival:
n
a
dangerous
Epoch
I
Pre-Expectancy
ealization
1
Post-Expectancy
ealization
i
Reaction
I
Imagination
Appraisal
î î
Prediction
Expectancyenerating
Expectancy
ealization
Event
Event
Time
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1 0
Elisa
Negretto
situation
t
s more
mportant
o
anticipate specific
vent hat
ubjects
re
able to
consciously epresent
n
their
mind han o
expect range
f
possible
events f which
hey
ave no
awareness,
s
would
happen
with
he
xpecta-
tion
maginationesponse.
By creating
state f
suspense
ased
on the
unconscious eferenceo a
range
of
probabilities
bout the
future,
xpectation
as the function
f
in-
creasing
he evel
of
attention
boutwhat
will
happen,
nd to
prepare
heor-
ganism
o
respond
dequately hroughpecific
action-readiness'nd
bodily
gestures.
ased on the
bility
o
representhighly xpected
vent,
nticipa-tion llows the
ubjects
o
respond
nd react o theoutcome f an event e-
fore
t
occurs.
It becomes
pparent
hat
xpectation
nd
anticipation
nfluence
n
dif-
ferent
ays
the ension
esponse
nd,
consequently,hey
etermineifferent
post-outcome
esponses.
Applied
o thedomain
f
music,
isteners
ill have
differentmotional
responses
nd
understanding
hatdeterminehe
meaning
heirmusical x-
perience
cquires
n
a
particular
ontextnd situation.
V Influence on theConstitutionof Meaning
Expectation
nd
anticipation
espectively
ontribute
together
ith th-
er
cognitive rocesses)
o thecreation
f structuralnd
meaningful
elation-
ships
between ounds.
Their
ntentionality
s directed oward
uturevents
n
order
o
prepare
he
organism
o
respond ppropriately
r to act before
hey
happen.
oth nfluence
he
rganization
f
experienced
ounds nto tructural
forms,
hich
cquire particular
eaning
or
he
ubject
such
s that
f be-
ing
cadence
n tonal
music).
For
example,
n
thebasis of
segmentation
nd
grouping
nd
creating atterns
f tension nd
relaxation,
xpectation
nd an-
ticipation
eterminehen musical equence r movementinishesnd an-
other
begins.
n this
way they
nfluence he
constitutionf
meaning y
connecting
he vents
hat orm
he
xperienced
bject
n
meaningful ays.
The difference
etween
xpectation
nd
anticipation
s
particularly
is-
ible
in
terms
f the istener's
xperience
f unfamiliar
usic.
suggest
hat
one of
thereasons
isteners
might
ave a
sense of
misunderstanding
n their
encounter
ith nfamiliar
usic
s that
hey
ackthe
bility
o
anticipate.
As
previously
efined,
xpectation
eferso the
ognitive
bility
f
pre-
presenting
uture
vents
which re
not well
defined,
hile
nticipation
s a
'quasi-perception'
f a
highly
xpected
vent.
When isteners
renot
familiar
with hemusic hey rehearing,hey re not bletoanticipatehefuturen-
going
of
the musical
vents
rom ne
moment
o the next.
For this
reason,
they
have
a sense
of
misunderstanding
f
thatmusic.
After ufficient
xpo-
sure,
owever,
nd
thanks o
the
process
f
earning,hey
willcome
o under-
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Expectation
nd
Anticipation
s
Key
Elements
or..
161
stand nd
anticipate
he
music
hey
re
istening
o. These
processes,
which
are
essentially
nconscious,
nfluence
he
meaning
hat
isteners'
erceptual
experiencecquires,
s
well as their
esponses
o
music.
Moreover,
he occurrence
f
expectations
r
anticipations
ead to dif-
ferent
odily esponses
nd
cognitive
tates.
ecause of
their ifferentunc-
tions
and
features,
hey
not
only
determine
different
reparation
o
the
event
utcome,
ut lso a differentmotional
esponse
o
it
that
hanges
c-
cording
o the fulfilment
r violation f both
expectation
nd
anticipation.
For
example,
n
case listenersorm
xpectations
ut renot ble to
anticipate,
they xperience
state f
suspense,
which
may
determine
trong
motionsn
cases where
xpectations
re violated r satisfied. uch emotions
orrespond
to
the extra-musical
eaning
he istener'smusical
xperience cquires
be-
cause
they
re
subjectively
etermined.wo
subjects,
or
nstance,
may
have
very
ifferent
esponses
nd emotional tates
n
relation o the ame musical
event ue to their ifferent
xperiences,
usical
knowledge,
nd thecontext
or situation
n
which hemusic s
experienced.
The differenceetween
xpectation
nd
anticipation
hus esults
n dif-
ferent
nterpretations
f a
piece
of
music,
ifferent
nderstandings
nd mean-
ings particular
usical
xperiencemay acquire,
s well as
different
odilyandemotional
esponses
n
istening
omore r ess familiar usic.t
may
lso
explainwhy
omemusic s more ifficulto hear nd
ppreciate
han thers.
VI. Conclusion
In
this rticle
focus
my
ttentionn
anticipation
nd
expectation
n
the
frame f how
isteners
erceptually
onstitute usical
meanings.
he
analy-
sis sheds
new
ights
n the
philosophicalnvestigation
nto hehuman
xperi-
ence
n
the
iving
world nd
n
thehuman
rocesses
f
knowledge.
Determining
he
way
listener
rganizes
musical ounds,he
xpectation
process
ontributeso the
constitutionf
meaningful
ubjective xperiences
andthe ealizationfthe
ntentional ovementhat
llows listenero be con-
scious
f
music nd
of sequence
f
ounds s
having
musical
meanings.
I
define
nticipation
s a
particular
omentn
the
process
f
expecta-
tion: t
s themoment
n
which
he istener
entallyepresents
owthe
music
will
go
on. More
precisely,
t
s the
bility
o have
kind fmental
epresenta-
tion f a
future
vent,
which
nfluenceshe istener's
omprehension
f
music
and
ultimately
ay
define
hedifference
n
their
nderstanding
r
misunder-
standing
f
unfamiliar usic.
Furthermpiricalnvestigationbout he pecificityfexpectationnd
anticipation
what
listener
xpects
r
anticipates
t
any
moment
hen is-
tening
o
music)
s
necessary
n
order o find
more vidence
hat
upports
his
slight
ut
mportant
istinction.would
suggest
hat t
can be better
rasped
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1
2 Elisa
Negretto
by examining
hedifferent
odily
nd emotional
esponses
hat
eople
have
while
hey
isten o more
nd ess familiarmusic.These
responsesmight
e
different
n
case listeners
nticipate
r
simply xpect
future oundevents.
Studying
he
way
isteners
ing long
with
hemusic
hey
re
hearing
ould
be another
ay
o find vidence hat
upport
hedistinction
havedrawn.
Department
fPhilosophy
Università
egli
tudi
e Padova
Piazza
Capitaniato
,
35139Padova,
taly
E-mail:elisa.
negr tto@virgilio.
t
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