| Subject |
Page Number |
Examples |
| absolute pitch |
110,125 |
|
| absolute pitch, disadvantages of |
112 |
|
| aesthetics |
167,373 |
|
| aesthetics, defining a musical work |
262 |
|
| agogic syncopation |
296 |
|
| Alberti bass |
256 |
|
| amnesia |
220,225 |
|
| anticipation |
245,306 |
|
| anticipation, feeling of |
306 |
|
| anticipation, hypermetric |
247 |
|
| appoggiatura |
285 |
|
| appraisal response |
14 |
|
| arch, melodic |
85 |
|
| Asavari |
205 |
|
| auditory learning |
59 |
|
| auditory representation |
127 |
|
| awe |
288,31 |
|
| azimuth |
103,104 |
|
| backbeat |
248,250 |
|
| Baldwin effect |
104,60,62 |
|
| Baldwin effect" |
|
|
| bearing |
105 |
|
| benign masochism theory |
383 |
|
| betting paradigm |
047 |
|
| binary meter bias |
195,360 |
|
| binding |
124 |
|
| blinking |
306 |
|
| bradycardic response method |
50 |
|
| breath-taking |
31 |
|
| broken record effect |
286 |
|
| cadence, jazz |
155 |
|
| cadence, Landini |
154 |
|
| cadence, Magyar |
155 |
|
| cadential 6-4 |
155 |
|
| Center for Computer Assisted Research in the Humanities |
387 |
|
| central pitch tendency |
267,360 |
|
| Chaconne |
261 |
|
| chili peppers |
383 |
|
| chills |
33 |
|
| chimeric melody |
233 |
|
| Chinese characters |
132 |
|
| climax |
322 |
|
| closure |
153,166 |
|
| cognitive firewalls |
203 |
|
| cohort theory |
209 |
|
| comedy |
283 |
|
| conditional probability |
55 |
|
| conscious expectations |
235,326 |
|
| context cueing |
204 |
|
| contingent frequencies |
67 |
|
| contracadential |
334 |
|
| contrametric |
344 |
|
| contrastive valence |
21 |
|
| contratonal |
339 |
|
| correlated mental representations |
114 |
|
| correlated pitch representation |
116 |
|
| cross-over |
213 |
|
| crude timbres |
286 |
|
| cueing, context |
204 |
|
| Darwinism, neural |
107 |
|
| deceptive cadence |
271 |
|
| declination |
77 |
|
| default schemas |
207,217 |
|
| defense reflex |
6 |
|
| delay |
314 |
|
| distance |
104 |
|
| dominant seventh |
155 |
|
| double period |
179 |
|
| downbeat |
184 |
|
| dreadlocks |
205 |
|
| duplex theory of pitch |
107 |
|
| dynamic expectations |
227 |
|
| dynamic familiarity |
254 |
|
| dynamic predictability |
254 |
|
| dynamic surprise |
278 |
|
| dynamic syncopation |
295,296 |
|
| ear worms |
230 |
|
| electroencephalograph |
52 |
|
| elevation |
103,104 |
|
| elided phrase |
335 |
|
| elision |
333 |
|
| emotional consequences of expectations |
7 |
|
| epinephrine |
306 |
|
| episodic memory |
220,221,225 |
|
| episodic memory, origin of |
231 |
|
| Ernest Bloch Lectures |
387 |
|
| ERP |
51,52 |
|
| ethnomusicology |
376 |
|
| event-related binding |
122,123 |
|
| evoked response |
52 |
|
| evoked response potential (ERP) |
51 |
|
| evolution origins of laughter |
30 |
|
| expectation, conscious |
235,326 |
|
| expectation, dynamic |
227 |
|
| expectation, long-range |
180 |
|
| expectation, measurement of |
41 |
|
| expectation, melodic |
91 |
|
| expectation, non-periodic |
187 |
|
| expectation, of the unexpected |
331 |
|
| expectation, temporal |
175 |
|
| expecting the unexpected |
294 |
|
| experimental methods |
41 |
|
| explicit memory |
222 |
|
| exposure effect |
131 |
|
| exposure effect, auditory |
134 |
|
| exposure effect, effect of consciousness |
132 |
|
| exposure effect, misattribution |
136 |
|
| exposure effect, origin |
135 |
|
| exposure effect, repetition effect |
139 |
|
| familiarity, dynamic |
254 |
|
| familiarity, schematic |
242 |
|
| familiarity, veridical |
241 |
|
| feeling of anticipation |
306 |
|
| feminine ending |
405 |
|
| fight |
35 |
|
| figuration |
255 |
|
| fills |
248 |
|
| firewall |
214,218 |
|
| firewalls |
203 |
|
| flight |
35 |
|
| form |
252,368 |
|
| freeze |
35 |
|
| frisson |
25,281,33,34 |
|
| future, sense of |
355 |
|
| garden path |
279 |
|
| genres |
203 |
|
| genres, rhythmic |
185 |
|
| German sixth chord |
155 |
|
| grouping |
197 |
|
| habituation |
140 |
|
| harmonic schema |
250 |
|
| harmonic syncopation |
295,296 |
|
| harmony, pop |
252 |
|
| head-turning paradigm |
49 |
|
| Hick-Hyman law |
112,63 |
|
| hierarchy |
178 |
|
| historical musicology |
374 |
|
| Humdrum Toolkit |
387,401 |
|
| humor |
283 |
|
| hypermeter |
178,179 |
|
| hypermetric anticipation |
247 |
|
| hypermetric downbeat |
248,249,250 |
|
| hypermietric anticipation |
247 |
|
| identity, of musical work |
262 |
|
| imagination response |
8 |
|
| imperfect listening |
98 |
|
| implicative |
306 |
|
| implicative context |
157 |
|
| implicit memory |
222 |
|
| improvisation |
234 |
|
| induction, problem of |
59 |
|
| information theory |
181,382 |
|
| initial schema |
207 |
|
| interaural differences |
103 |
|
| intermediate-term memory |
228 |
|
| interval representation |
117 |
|
| ITPRA theory of expectation |
15,357 |
|
| jazz cadence |
155 |
|
| jokes |
283 |
|
| key profiles |
150 |
|
| Landini cadence |
154 |
|
| laughter |
26,283 |
|
| laughter, evolution origins |
30 |
|
| learning, heuristic |
91 |
|
| learning, Hick-Hyman law |
63 |
|
| learning, statistical |
190 |
|
| learning, temporal |
190 |
|
| limbic contrast |
383 |
|
| listener-centered schemas |
217 |
|
| localization |
102 |
|
| long-term memory |
225,228 |
|
| m-dependency theory |
181 |
|
| Magyar cadence |
155 |
|
| major key bias |
360 |
|
| mantra |
267 |
|
| measuring tendency |
162 |
|
| melodic arch |
360,85 |
|
| melodic interval |
117 |
|
| melodic regression |
80 |
|
| melodic structure |
91 |
|
| memorization |
229 |
|
| memory loop |
224 |
|
| memory, changing |
266 |
|
| memory, episodic |
221 |
|
| memory, episodic - origin of |
231 |
|
| memory, semantic |
224 |
|
| memory, semantic - origin of |
231 |
|
| mental representation |
101,102,106,107,219,73 |
|
| mental representation, acquiring |
110 |
|
| mental representation, brain imaging |
128 |
|
| mental representation, correlated |
114 |
|
| mental representation, event-related binding |
122,123 |
|
| mental representation, lower derivative states |
123 |
|
| mental representation, lower-derivative states |
122 |
|
| mental representation, lower-order relationships |
122 |
|
| mental representation, melodic interval |
117 |
|
| mental representation, neighboring relationships |
122 |
|
| mental representation, pitch |
121 |
|
| mental representation, preferred |
122,124 |
|
| mental representation, theory |
127 |
|
| mere exposure effect |
131 |
|
| mere exposure effect, auditory |
134 |
|
| mere exposure effect, effect of consciousness |
132 |
|
| mere exposure effect, misattribution |
136 |
|
| mere exposure effect, repetition effect |
139 |
|
| meter |
179 |
|
| meter, binary bias |
195 |
|
| method of production |
43 |
|
| method of tone detection |
42 |
|
| method, betting paradigm |
047 |
|
| method, bradycardic paradigm |
50 |
|
| method, evoked response potential paradigm |
51 |
|
| method, head-turning paradigm |
49 |
|
| method, probe-tone |
45 |
|
| method, reaction time paradigm |
50 |
|
| metric hierarchy |
267 |
|
| metric proximity |
267 |
|
| microemotions |
25 |
|
| misattribution |
135,136 |
|
| mismatch negativity |
52 |
|
| mixed syncopation |
301 |
|
| modernism |
346 |
|
| modernism, reception of |
348 |
|
| modulation |
285 |
|
| motivation |
109 |
|
| motives |
258 |
|
| MuseData |
387 |
|
| music history |
374 |
|
| musical aesthetics |
373 |
|
| naive realism |
99 |
|
| Narmour's theory of melodic organization |
94 |
|
| naturalist fallacy |
400 |
|
| Neapolitan seventh |
155 |
|
| neural Darwinism |
107 |
|
| oddball note |
312 |
|
| onset syncopation |
295,296 |
|
| opera buffa |
283 |
|
| operetta |
283 |
|
| opponent process theory |
383 |
|
| Ottoman Turks |
215 |
|
| peg-leg rhythms |
285 |
|
| perceptual binding |
124 |
|
| period |
179 |
|
| periodicity |
175 |
|
| picardy third |
275 |
|
| pinna |
103 |
|
| pitch proximity |
157,160,267,360,74,75,88,91,92,94,96 |
|
| pitch unlearning theory of absolute pitch |
111 |
|
| pitch-related mental representation |
121 |
|
| pleasure, downbeat |
184 |
|
| poetry |
196,367 |
|
| pop harmony |
252 |
|
| post-skip reversal |
124,360 |
|
| powdered wig |
205 |
|
| preadaptation |
34 |
|
| predictability |
239 |
|
| predictability, dynamic |
254 |
|
| predictable music |
140,239 |
|
| prediction effect |
131,139 |
|
| prediction response |
12 |
|
| preference rules |
197 |
|
| premonition |
319 |
|
| preparation |
109,4 |
|
| probability, conditional |
55 |
|
| probability, subjective |
53 |
|
| probe-tone method |
45 |
|
| problem of induction |
137,217,233,59,60,98 |
|
| psychological history |
374 |
|
| pump down |
285 |
|
| pump up |
285 |
|
| qualia |
144 |
|
| qualia, scale degree |
144,162 |
|
| Rastafarians |
205 |
|
| reaction response |
13 |
|
| reaction time method |
50 |
|
| realism, naive |
99 |
|
| regression to the mean |
360 |
|
| repeated listening |
292,304 |
|
| repetition |
229,367 |
|
| repetition effect |
139 |
|
| representation |
101,109,197,219,73 |
|
| representation, absolute pitch |
110 |
|
| representation, correlated |
114 |
|
| representation, pitch |
121 |
|
| representation, preferences |
122,124 |
|
| representation, theory of auditory |
127 |
|
| representing an expected pitch |
106 |
|
| rhythm, speech |
188 |
|
| rhythmic attending |
176 |
|
| rhythmic genres |
185 |
|
| scale degree qualia |
144,162 |
|
| scale degree, statistics |
147 |
|
| schema switching |
210 |
|
| schema, harmonic |
250 |
|
| schema, starting |
207 |
|
| schema, taxonomies |
214 |
|
| schemas |
203 |
|
| schematic expectations |
225 |
|
| schematic familiarity |
242 |
|
| schematic surprise |
270 |
|
| Schenkerian theory |
97 |
|
| semantic memory |
220,224,225 |
|
| semantic memory, origin of |
231 |
|
| sense of future |
355 |
|
| sequence |
256 |
|
| short-term memory |
197,220,227 |
|
| slamming door |
226,6 |
|
| speech rhythms |
188 |
|
| speed |
105 |
|
| starting schema |
207 |
|
| startle response |
226,6 |
|
| statistical learning |
190,360 |
|
| statistical properties of music |
73 |
|
| step declination |
267,75 |
|
| step inertia |
360,77 |
|
| stop-and-go |
250 |
|
| stream-of-consciousness listening |
310,366 |
|
| stretto |
254 |
|
| stride bass |
302,375 |
|
| style |
252 |
|
| stylistic taxonomies |
217 |
|
| subito piano |
283 |
|
| subjective probability |
53 |
|
| surprise |
19,269,281,303 |
|
| surprise, aesthetics of |
35 |
|
| surprise, awe |
288,31 |
|
| surprise, creating |
269 |
|
| surprise, dynamic |
278 |
|
| surprise, frisson |
281,33 |
|
| surprise, garden path |
279 |
|
| surprise, laughter |
26,283 |
|
| surprise, schematic |
270 |
|
| surprise, syncopation |
294 |
|
| surprise, types of |
25 |
|
| surprise, veridical |
275 |
|
| surprise, weirdness |
290 |
|
| suspension |
309 |
|
| sweet anticipation |
326,327 |
|
| Swiss police |
331 |
|
| syncopation |
294,295,297,299,300,301,302,303,349 |
|
| syncopation, agogic |
296 |
|
| syncopation, dynamic |
295,296 |
|
| syncopation, expected |
302 |
|
| syncopation, expecting |
302 |
|
| syncopation, harmonic |
295,296 |
|
| syncopation, mixed |
301 |
|
| syncopation, onset |
295,296 |
|
| syncopation, tonal |
297,299 |
|
| tactus |
175,176 |
|
| taxonomies, schema |
214 |
|
| temporal expectation |
175 |
|
| temporal expectation, non-periodic |
187 |
|
| temporal learning |
190 |
|
| tendency |
158 |
|
| tendency moments |
245 |
|
| tendency, measuring |
162 |
|
| tension |
305 |
|
| tension response |
9 |
|
| tension-S |
306 |
|
| themes |
258 |
|
| theory of auditory representation |
127 |
|
| thrills |
33 |
|
| tierce de picardy |
275 |
|
| tonal function |
173 |
|
| tonal syncopation |
297,299 |
|
| tonality |
143 |
|
| tonality and culture |
168 |
|
| tonotopic pitch representation |
107 |
|
| TPR |
310 |
|
| trajectory |
105 |
|
| tritone substitution |
155 |
|
| tumbling melodies |
76 |
|
| tune-on-the-brain |
230 |
|
| undergeneralization |
206 |
|
| unusualness rules |
205 |
|
| veridical expectations |
224,225 |
|
| veridical familiarity |
241 |
|
| veridical surprise |
275 |
|
| Vienna |
215 |
|
| weirdness |
290 |
|
| whiz-bang emotions |
25 |
|
| Wittgenstein's Puzzle |
225 |
|
| wrong notes in improvisation |
234 |
|
| wrong notes, recovering from |
234,235 |
|
| yearning |
306 |
|
| Zukunftsmusik |
332 |
|
|
|
|
|
 |