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In music cognition and musical analysis, the study of melodic expectation considers the engagement of the brain's predictive mechanisms in response to music.〔 For example, if the ascending musical partial octave "do-re-mi-fa-sol-la-si-..." is heard, listeners familiar with Western music will have a strong expectation to hear or provide one more note, "do", to complete the octave. Melodic expectation can been considered at the esthesic level, in which case the focus lies on the listener and its response to music.〔 It can be considered at the neutral level,〔 in which case the focus switches to the actual musical content, such as the "printed notes themselves".〔 At the neutral level, the observer may consider logical implications projected onto future elements by past elements〔〔 or derive statistical observations from information theory.〔 ==A multifaceted concept== The notion of melodic expectation has prompted the existence of a corpus of studies in which authors often choose to provide their own terminology in place of using the literature's.〔 This results in an important number of different terms that all point towards the phenomenon of musical expectation:〔 * Anticipation.〔 * Arousal. * Deduction.〔 * Directionality.〔 * Expectancy, expectation, expectedness, and in French ''attente''.〔〔〔〔〔〔 * Facilitation.〔〔 * Implication / realization.〔〔〔〔 * Implication (independent from realization).〔〔 * Induction.〔〔〔 * Inertia.〔〔 * Musical force(s).〔 * Previsibility, predictibility and prediction.〔〔〔〔 * Resolution.〔〔〔〔〔〔 * Tension / release, tension / relaxation.〔〔〔〔 * Closure, which may be used as the ending of the expectation process,〔 as a group boundary,〔 or as both simultaneously.〔 Expectation can also be found mentioned in relation to concepts originating from the field of information theory such as entropy.〔〔〔〔〔〔〔〔 Hybridization of information theory and humanities results into the birth of yet other notions, particularly variations upon the notion of entropy modified for the need of description of musical content. Consideration of musical expectation can be sorted into four trends.〔 * A first trend may include publications written in the 1950s by Meyer, Younblood and Krahenbuehl & Coons that are concerned with objectivization and rationalization of the concepts of arousal, uncertainty, or non-confirmation of a prediction using information theory.〔〔 * A second trend may concern the more recent publications that include a step-by-step music analysis process at the neutral level, such as the generative theory of tonal music〔 and Narmour's Implication-Realization model.〔〔 * A third trend may provide quantitative models based on computer algorithms, such as Margulis' model of melodic expectation or Farbood's model of musical tension.〔〔 * A fourth trend may group generalist theories whose focus lies neither in step-by-step processes nor in quantitative operations, and may include elements pertinent to the esthesic level such as cognition and neurophysiology. This includes Larson's "musical forces"〔 and Huron's theory of general expectation. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Melodic expectation」の詳細全文を読む スポンサード リンク
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