Theories of Melodic Expectation:

Abstract

The present study deals with the overall ideas related to melodic expectation theories through four major scholars (Leonard Meyer, Eugene Narmour, David Huron and Elizabeth Margulis). By investigating and comparing with their theories, it is possible to construe the melodic expectation through diverse approaches as well as their interrelationships based on the diachronic and synchronic analyses. The theories of the four scholars are addressed in order to articulate the distinct features in their conceptions. By following Meyers sight of an expectation, and his epoch-making influence on later scholars such as Narmour, Huron and Margulis, this study specially contemplates reviewing their major theories and discussions of melodic expectation in a chronological order. Moreover, comparisons and contrasts of their theories and arguments are carried out based on the same touchstones: tension, surprise and gap-fill pattern. By doing this, it is plausible to comprehend their major focus on the issues. Therefore, different concerns and ideas offer how their theories take the distinct footsteps regarding the melodic expectation. A conclusion is drawn to address the outcome of the comparisons

and questions with respect to musical expectation and further studies are raised. Overall, the study aims to reexamine and extend the four scholars theories in order to establish the correlations between the theories inherited from Meyers expectation theory and to unfold dynamic and intricate aspects of listening experience as to expectation. Thereby, the historical transformation of melodic expectation from 1950s to 2000s is clearly aligned, and by being juxtaposed with one another, it leads to corroborate every facet of the melodic expectation in relation to perception, cognition and listening experience.