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Sweet Anticipation: Music and the Psychology of Expectation (A Bradford Book)
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The psychological theory of expectation that David Huron proposes in Sweet Anticipation grew out of the author's experimental efforts to understand how music evokes emotions. These efforts evolved into a general theory of expectation that will prove informative to readers interested in cognitive science and evolutionary psychology as well as those interested in music. The book describes a set of psychological mechanisms and illustrates how these mechanisms work in the case of music. All examples of notated music can be heard on the Web.Huron proposes that emotions evoked by expectation involve five functionally distinct response systems: reaction responses (which engage defensive reflexes); tension responses (where uncertainty leads to stress); prediction responses (which reward accurate prediction); imagination responses (which facilitate deferred gratification); and appraisal responses (which occur after conscious thought is engaged). For real-world events, these five response systems typically produce a complex mixture of feelings. The book identifies some of the aesthetic possibilities afforded by expectation, and shows how common musical devices (such as syncopation, cadence, meter, tonality, and climax) exploit the psychological opportunities. The theory also provides new insights into the physiological psychology of awe, laughter, and spine-tingling chills. Huron traces the psychology of expectations from the patterns of the physical/cultural world through imperfectly learned heuristics used to predict that world to the phenomenal qualia we experienced as we apprehend the world.
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Product details
Series: A Bradford Book
Paperback: 474 pages
Publisher: MIT Press (January 25, 2008)
Language: English
ISBN-10: 0262582783
ISBN-13: 978-0262582780
Product Dimensions:
7 x 1.1 x 9 inches
Shipping Weight: 1.6 pounds (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
12 customer reviews
Amazon Best Sellers Rank:
#95,923 in Books (See Top 100 in Books)
Finally, a real five-star book about music. For some reason, there are thousands of books about language, but almost no serious ones analyzing the biology and psychology of humanity's other communication systesms. Every society has a highly developed musical tradition, every society uses music in countless ways including the most sacred religious ceremonies, and yet hardly anyone has stepped forward to analyze it as a basic communication channel for humans. David Huron's book is on surprise in music. He shows how music creates expectations of pattern, from simple rhythm up to very complex patterns (the concerto, the symphony...) that only sophisticated listeners know. Musicians notoriously love to play with these patterns, to surprise the listeners and thus create new pieces and prevent boredom. Huron distinguishes several types of surprise, on the basis of a highly sophisticated evolutionary and cognitive psychology as well as an astounding knowledge of music. He knows everything from the complexities of Beethoven and Schoenberg to the joik songs of the Saami of arctic Europe, and even knows what happens when you play the latter to rural folk in southern Africa. By contrast, such earlier works as Robert Jourdain's MUSIC, THE BRAIN AND ECSTASY were greatly limited by confining their attention to western classical and classical-derived pop forms, thus missing everything from cross-rhythms to alternative scales. Surprise presupposes a whole file of knowledge of patterns and schemas, and a deep cognitive and emotional investment in same. Huron takes these mostly for granted. Obviously, the next step is to figure out why people love complicated musical patterns in the first place. Especially, humans love the theme-and-variation type of play with patterns that dominates music from Elizabethan lute solos to jazz to ragas. These are not exactly surprising, especially when you know the pieces, but they are always delightful. Why? Huron mentions body rhythms, speech rhythms, and the like. There is obviously more. I think there is much more about pattern--in music and in general--that we need to study.
I came to this book because I think Daniel Levitin recommended this book in his own "This Is Your Brain On Music", which was a good read but I felt it skimmed some details that I would've liked to know more about. This book goes very, very deep into musical expectation and its relevance in culture, listening habits, art, and for me it was an effective gateway into the field of psychology, even evolutionary biology. It never gets too preachy, always aware that expectation is just one element of music. It gets very dry at times, and if you've been to music school you can probably skip the number-crunching bits on cadential harmony and meter. Still, good reading.
Great information, and written in an accessible way. David Huron makes well-supported information fun to read! I HIGHLY recommend this book to any musician, regardless of field.
I really like this book, but I don't think I'm qualified to review it. However, I think you can get a sense of whether you might be interested in it by reading the list of chapter titles and some of the subtitles and descriptions of some of the tables (T) and figures (F), so here's that:1 Introduction Emotional Consequences of Expectations Tension Response Imagination Response Prediction Response Reaction Response Appraisal ResponseT1.1 Response systemsF1.1 Schematic diagram of the time-course of the "ITPRA" theory of expectation.2 SurpriseF2.1 Schematic diagram of the brain mechanisms involved in the fear response. Contrastive Valence Three Flavors of Surprise3 Measuring Musical ExpectationF3.1 Average moment-to-moment uncertainty for Balinese and American musicians listen to an unfamiliar traditional Balinese melody.4 Auditory LearningF4.1 Average response times for musician listeners to hear an isolate tone as a specified scale degree.F4.5 Sample exposure stimuli showing the long-term statistical probabilities of pitch-to-pitch transitions.5 Statistical Properties of MusicF5.1 Frequency of occurrence of melodic intervals in notated sources for folk and popular melodies from ten cultures.F5.2 Proportion of non-unison melodic intervals that ascend in pitch.T5.1 Probabilities for step-step- movements in a large sample of Western and non-Western musics.F5.3 Watt's (1924) analysis of intervals in Schubert Lieder. Larger intervals are more likely to be followed by a change of melodic direction than small intervals.F5.5 Number of instances of various melodic leaps found in a cross-cultural sample of melodies.F5.6 Average contour for 6,364 seven-note phrases taken from The Essen Folksong Collection (Schaffrath 1995).6 Heuristic ListeningF6.1 "Brownian" or "random walk" melody.F6.2 "Johnson" or "white noise" melody.7 Mental Representation of Expectation (I)F7.2 Information theoretic analysis of "Pop Goes the Weasel" showing changing of information (in bits) as the piece unfolds.F7.4 A hypothetical mental network for pitch-related representation.F7.5 Four objects illustrating the failure to code spatial interval.8 Prediction Effect Exposure Effect The Role of Consciousness9 TonalityT9.1 Scale Degree QualiaF9.1 Distribution of scale tones for a large sample of melodies in major keys (>65,000 notes).F9.2 Distribution of scale tones for a large sample of melodies in minor keys (>65,000 notes).T9.2 First-order scale-degree probabilities (diatonic continuations)T9.3 First-order scale-degree probabilities (chromatic continuations)F9.7 Schematic illustration of scale-degree successions for major key-melodiesF9.9 Schematic illustration of the amount of flexibility or (conversely) tendency for different scale degrees in major-key contexts.10 Expectation in TimeF10.2 Effect of temporal position on accuracy of pitch judgment. Long-Range Contingent Expectations The Pleasures of the Downbeat Nonperiodic Temporal ExpectationsF10.13 Graph representing the relative durations of three-note rhythmic patterns.F10.14 Relative durations for two 3-note rhythms tapped by musicians.F10.15 Categorical boundaries between various perceived three-note rhythms.11 Genres, Schemas, and Firewalls Context Cueing Undergeneralization Starting SchemaT11.1 Unprimed listener expectations Schema Switching12 Mental Representation of Expectation (II) Episodic MemoryF12.1 Recognition measurements for the openings of four melodies. Dynamic ExpectationsF12.2 Example of a chimeric melody where one melody elides into another. Conscious Expectations13 Creating Predictability Veridical Familiarity Schematic Predictability The Anticipation Hypermetric AnticipationF13.9 Schematic illustration of chord progressions in a sample of baroque music.F13.11 Schematic illustration of chord progressions in a sample of seventy Western popular songs ... Style and form Dynamic Predictability14 Creating SurpriseT14.1 Reported qualia for chromatic median chords in a major key contextT14.2 Reported qualia for chromatic median chords in a minor key contextT14.3a Metrical context for ascending melodic intervalsT14.3b Metrical context for descending melodic intervals15 Creating Tension The Feeling of Anticipation The SuspensionF15.3 Prototypical suspension.T15.1 Summary expectation analysis of a suspensionF15.4 Oddball event.F15.5 Oddball event from figure 15.4 is transformed into an appoggiatura.T15.2 Summary expectation analysis of an oddball noteT15.3 Summary expectation analysis of an appoggiatura Premonition Climax Sweet Anticipation --- The Role of Consciousness
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