http://popups.lib.uliege.be/1373-5411/index.php?id=4137 Index terms fr 0 http://popups.lib.uliege.be/1373-5411/index.php?id=1056 Anticipation in music is analysed by presenting an inventory of the possibilities of musical anticipation together with a tentative discussion of the cognitive mechanisms that may give rise to them. The "logic" of the phenomenon is exposed, laying bare the interplay between prospective and retrospective elements, and arriving at three categories of anticipation. It is further argued that in order to come to terms with musical anticipation, one must take account of the fact that we engage with music in three different ways: listening, reading, and performing. Six different types of anticipation are then proposed in relation to four structural aspects that may govern musical apprehension - continuity, segmentation, hierarchy, and network. Finally some musical examples illustrating various kinds of anticipation are presented and commented upon. Thu, 04 Jul 2024 16:54:37 +0200 Mon, 07 Oct 2024 15:42:29 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1056 http://popups.lib.uliege.be/1373-5411/index.php?id=1049 Several experimental studies have demonstrated that the formation of groups, as defined by the Gestalt laws, applies to music listening. However, other organizational principles must be considered when music is played in real time. On this particular point, I have proposed a model based on a mechanism of cue abstraction, where two fundamental principles - the principle of similarity and the principle of difference - come into play in listening over long time spans. A number of experimental procedures based on the hvpothesis of cue abstraction in relation to the concept of Anticipation are described, but particular emphasis is given on the role of similarity-difference perception. Starting from cue abstraction, a categorization process of the musical material is immediately established on the basis of exact or varied repetitions of the abstracted structures. Progressively, all these more or less varied reiterations elaborate a memory imprint : the memory does not retain all the precise components of the material, but establishes some sort of summary which comprises the principal attributes of a set of percepts. The results of different experimental approaches that followed these methodological principles are summarised. Thu, 04 Jul 2024 16:49:09 +0200 Mon, 07 Oct 2024 15:41:28 +0200 http://popups.lib.uliege.be/1373-5411/index.php?id=1049