Expectation and Completion in Music

Excerpts from the Paper

Abstract
This paper shall present a review of several major academic approaches to musical cognition. Particular focus will be placed on expectation-based theories that postulate that the musical environment conditions the brain, and that we come to expect certain notes to follow one another. This approach uses the term “completion” to describe how the brain appreciates a musical phrase when it completes the expectation that we have.
Expectation and Completion in Music
There are many different levels to the subject of the cognitive perception of music. Music is obviously appreciated on some kind of sub-concious level. Many people can recognize musical pieces from simply hearing a very few notes of the piece. People seem to have very high...

.....itch.
Oxford University Press US, 1990, [Oxford Psychology Series, No. 17]
<http://facultyweb.at.northwestern.edu/music/gjerdingen/Papers/PubReviews/Krumhansl.pdf>
Ladinig, Olivia, Henkjan Honing‌ Gábor Háden, István Winkler,
Probing Attentive and Preattentive Emergent Meter in Adult Listeners without Extensive Music Training, Music Perception, April 2009, Vol. 26, No. 4, Pages 377–386
Tekman, Hasan, and Jamshed Bharucha, Time course of chord
Priming, Perception & Psychophysics 1992, 51(1), 33-39
<http://www.psychonomic.org/search/view.cgi?id=5656>
Tekman, Hasan Gtirkan and Jamshed J. Bharucha, Implicit
Knowledge Versus Psychoacoustic Similarity in Priming of Chords, Journal of Experimental Psychology, Vol. 24, No. 1,252-260