PSYCHOLOGISTS, MUSICIANS, AND LAYMAN are agreed that music is often a powerful source of affect.1 Yet we know relatively little about the basis for this power of music to arouse emotion in the listener. Studies have attempted to show that music is capable of inducing a mood effect, or that there are affective qualities in music which can be identified by listeners; they have also correlated certain musical attributes, such as the minor mode, with specific emotional reactions. But such experiments, employing introspective reports, check lists of emotions, and Galvanic Skin Response (GSR) measurements, have yielded no information about the characteristics of the musical stimuli actually involved in evoking the response. Directly relevant to this question is the theory of musical aesthetics formulated by Leonard Meyer, as presented in his Emotion and Meaning in Music. Starting from a psychological theory of emotions first proposed by Dewey, Meyer invokes the concept of expectation as a central factor determining the aesthetic response. His basic hypothesis states that affect or emotion-felt is aroused when an expectation-a tendency to respond-activated by the musical stimulus situation, is temporarily inhibited or permanently blocked.2 Expectations are products of our knowledge of the particular musical style, the individual work, and the modes of human perception and cognition. Any musical figure which deviates from the expected musical sequence is felt to be a disruption in the normal process of continuation and, hence, arouses tension in the listener, which is then resolved when a satisfactory musical resolution appears.
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