Whose Phenomenology of Music? David Huron's Theory of Expectation

Biancorosso, Giorgio

doi:10.1093/ml/gcn015

Cited by 2 publications

(1 citation statement)

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“…The Submediant of dominant-to-submediant is an unexpected cadence compared with the Tonic of dominant-to-tonic in the levels of harmonic expectancy [26, 27]. Also it is a deceptive cadence [28]. The conditional probability [5], based on the harmonic expectancy, of the Submediant was less expected than the most expected Tonic (only about 1/7); when the sum of the conditional probability for six cases according to the different chords following a dominant is 1, tonic is 0.752, submediant is 0.106, subdominant is 0.053, mediant is 0.045, supertonic is 0.043, and subtonic is 0.001.…”

Section: Discussionmentioning

confidence: 99%

Change in left inferior frontal connectivity with less unexpected harmonic cadence by musical expertise

Kim

Choi

et al. 2019

PLoS ONE

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In terms of harmonic expectancy, compared to an expected dominant-to-tonic and an unexpected dominant-to-supertonic, a dominant-to-submediant is a less unexpected cadence, the perception of which may depend on the subject’s musical expertise. The present study investigated how aforementioned 3 different cadences are processed in the networks of bilateral inferior frontal gyri (IFGs) and superior temporal gyri (STGs) with magnetoencephalography. We compared the correct rate and brain connectivity in 9 music-majors (mean age, 23.5 ± 3.4 years; musical training period, 18.7 ± 4.0 years) and 10 non-music-majors (mean age, 25.2 ± 2.6 years; musical training period, 4.2 ± 1.5 years). For the brain connectivity, we computed the summation of partial directed coherence (PDC) values for inflows/outflows to/from each area (sPDCi/sPDCo) in bilateral IFGs and STGs. In the behavioral responses, music-majors were better than non-music-majors for all 3 cadences (p < 0.05). However, sPDCi/sPDCo was prominent only for the dominant-to-submediant in the left IFG. The sPDCi was more strongly enhanced in music-majors than in non-music-majors (p = 0.002, Bonferroni corrected), while the sPDCo was vice versa (p = 0.005, Bonferroni corrected). Our data show that music-majors, with higher musical expertise, are better in identifying a less unexpected cadence than non-music-majors, with connectivity changes centered on the left IFG.

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Section: Discussionmentioning

confidence: 99%