Review article: D. HURON, Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: The MIT Press (A Bradford Book), 2006. 476 pp, 108 illus. ISBN 0—262—08345—0 (hbk) $40/£25.95

  title={Review article: D. HURON, Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: The MIT Press (A Bradford Book), 2006. 476 pp, 108 illus. ISBN 0—262—08345—0 (hbk) \$40/£25.95},
  author={Adam Ockelford},
  journal={Psychology of Music},
  pages={367 - 382}
  • A. Ockelford
  • Published 1 July 2008
  • Psychology
  • Psychology of Music
Having been privileged to see a pre-publication draft of this book, it was with a real sense of pleasurable anticipation that I prepared to read the final version. And my expectations (largely veridical, in terms of the theory that is set out) were more than fulfilled (positively valenced to a higher degree than I had imagined): there seems little doubt that Sweet Anticipation will become a landmark text in the burgeoning interdisciplinary domain of empirical musicology. The way that Professor… 

An empirical exploration of the zygonic model of expectation in music

Aspects of the ‘zygonic’ model of expectation in music (Ockelford, 2006) were tested experimentally. Forty subjects were played a diatonic melody, starting with the initial note only, then the first

Expectations Evoked on Hearing a Piece of Music for the First Time: Evidence from a Musical Savant

This study investigates expectations in music evoked during the course of hearing a piece for the first time, particularly those which stem from recently appearing groups of notes (Ockelford, 2006).

Zygonic Theory: Introduction, Scope, and Prospects

This extended article introduces Adam Ockelford’s ‘zygonic’ theory of music-structural understanding, which holds that imitation, which can occur in all domains of perceived sound and at all levels,

How Can Music Influence the Autonomic Nervous System Response in Patients with Severe Disorder of Consciousness?

In this study, retrospectively the autonomic response to musical stimuli by mean of normalized units of Low Frequency and Sample Entropy of Heart Rate Variability parameters and their possible correlation to the different complexity of four musical samples are analyzed.

Learning Chinese Classical Music with the Aid of Soundscape by Using Intelligent Network

  • LiLan Zhang
  • Education
    Computational intelligence and neuroscience
  • 2022
A soundscape is a sound environment of the awareness of auditory perception and social or cultural understanding. To improve the subjective initiative of the Chinese classical music students, this



Implication and expectation in music: a zygonic model

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)

The Magical Number Two, Plus or Minus One: Some Limits on our Capacity for Processing Musical Information

Like all fields of human artistic endeavour, music is constrained by our cognitive processing requirements and limitations (Swain, 1986; Lerdahl, 1988; Huron, 2001). This articleconsiders particular

Music Cognition and Perceptual Facilitation: A Connectionist Framework

The mind internalizes persistent structural regularities in music and recruits these internalized representations to facilitate subsequent perception. Facilitation underlies the generation of musical

Relating Musical Structure and Content to Aesthetic Response: A Model and Analysis of Beethoven’s Piano Sonata Op. 110

A model is presented which aims to show how, for listeners familiar with a given style, aesthetic response to music may be related to its ‘structure’ (as defined in relation to ‘zygonic’ theory) and

Cognitive constraints on compositional systems

In this article I explore the relationship between composing and listening. I begin with a problematic story, draw some general conclusions, introduce relevant concepts from Lerdahl and Jackendoff

Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition

Eric F. Clarke: Generative principles in music performance Alf Gabrielsson: Timing in music and performance and its relations to music experience Johan Sundberg: Computer synthesis of music

Tone and Voice : A Derivation of the Rules of Voice-Leading from Perceptual Principles

The traditional rules of voice-leading in Western music are explicated using experimentally established perceptual principles. Six core principles are shown to account for the majority of

A separate issue on first hearing a piece is the number of successive repetitions or transformations of a motive that are expected, based on previous stylistic experience

  • Musicae Scientiae,
  • 1987

Musical structure, content and aesthetic response: Beethoven's Op. 110

  • Journal of the Royal Musical Association
  • 2005