Table 1
Pieces chosen by the participants to comment in the interviews.
| PARTICIPANT | PIECE | COMPOSER | MEDIUM |
|---|---|---|---|
| P1 | Unbegrenzt | Karlheinz Stockhausen | Unspecified instrumentation |
| P2 | Having Never Written a Note for Percussion | James Tenney | Unspecified percussion |
| P3 | The Broken Harp | Valeria Jonard | Comb and live electronics |
| P4 | Four Marys | Julia Wolfe | String quartet |
| P5 | Formazioni | Luciano Berio | Orchestra |
| P6 | Sinapsis | Rodrigo Sigal | Guitar and tape |
| L’Orée du Compte | Francis Dhomont | Acousmatic | |
| P7 | Psychedelic | Lucas Fagin | Septet with electronic instruments |
| P8 | Cymatics | Panayiotis Kokoras | Amplified cymbal |
| P9 | Six Orchestral Pieces Op. 6, No. 1 | Anton Webern | Orchestra |
| P10 | Guero | Helmut Lachenmann | Piano |
| P11 | Time, Motion and Memory | John Young | Acousmatic |
| P12 | Como una Ola de Fuerza y Luz | Luigi Nono | Piano, soprano, orchestra and tape |
| P13 | Guero | Helmut Lachenmann | Piano |
| P14 | De Natura Sonoris No. 2 | Krzysztof Penderecki | Orchestra |
| P15 | Thallein | Iannis Xenakis | Ensemble |
Figure 1
Diagram of the grounded model of affective-cognitive listening experience highlighting the mental mechanism of cross-modal musical expectancy as the paper’s main topic.
Table 2
Main categories, properties and dimensions concerning the cross-modal musical expectancy process.
| MAIN CATEGORIES | PROPERTIES | DIMENSIONS | PARTICIPANTS PER DIMENSION |
|---|---|---|---|
| Personal background | Personal memories | Episodic Schematic | 1, 5, 8, 9, 10, 11, 13, 14 1, 2, 3, 4, 6, 8, 9, 10, 11, 12, 13, 14 |
| Personal features | Timbral sensitivity Curiosity | 2, 3, 7, 8, 10, 11, 13 1, 3, 4,7, 8, 9, 10, 11, 13 | |
| Personal interests | Musical Extramusical | 2, 3, 6, 8, 9, 10 1, 8, 11 | |
| Sonoristic enculturation | Knowledge of the style | Superficial Deep | — 1, 2, 3, 5, 6, 7, 9, 10, 11 |
| Sonoristic values | Liking for timbre Innovation Radical stance | 1, 2, 3, 4, 5, 6, 8, 9, 10, 11, 12, 13 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 15 2, 7, 9, 10, 12, 13 | |
| Musical structure | Acoustic features | Spectrum/timbre Duration Texture Register Intensity | |
| Change | Infrequent-Frequent Gradual-Sudden Unexpected-Expected | ||
| Formal dimension | Local-Global | ||
| Space | Composed-Real Static-Dynamic | ||
| Situation | Live Audio-visual Acousmatic | ||
| Action of listening | Control | Low High | 1, 2, 8, 10, 12, 13 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 13, 14, 15 |
| Modality | Unimodal Cross-modal | 1, 2, 3, 4, 5, 6, 7, 9, 10 1, 2, 3, 4, 6, 8, 10, 11, 13, 14, 15 | |
| Formal focus | Local Global | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 13 1, 2, 4, 6, 7, 9, 10, 11, 12, 13, 14, 15 | |
| Mental mechanisms | Self-relevance appraisal | Idiosyncratic Cultural | 1, 2, 3, 4, 5, 7, 8, 9, 10, 14, 15 2, 3, 7, 8, 10, 13, 15 |
| Attention | Covert Overt/Analytic | — 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 13, | |
| Association | Indexical Iconic Conceptual | 2, 3, 4, 5, 6, 8, 9, 10, 11, 13, 14 1, 3, 4, 5, 6, 8, 9, 10, 11, 12, 13, 14 1, 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13, 15 | |
| Musical expectancy | Unimodal Cross-modal | 1, 3, 4, 5, 6, 7, 9, 10, 12, 13, 14 1, 3, 4, 6, 8, 10, 11, 13, 14 | |
| Affective-cognitive listening experience | Affects | Felt Recognised Negative Positive Non-specific Specific | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 5, 9, 11, 12, 13, 14 1, 2, 4, 5, 9, 10, 11, 12, 14 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 1, 4, 5, 14 |
| Concepts | Single Narrative | 1, 3, 5, 6, 7, 8, 9, 10, 12, 13, 15 1, 2, 4, 6, 11, 13 |