{"id":2522,"date":"2026-09-10T01:20:42","date_gmt":"2026-09-10T01:20:42","guid":{"rendered":"https:\/\/legatto.space\/?p=2522"},"modified":"2026-09-10T01:20:42","modified_gmt":"2026-09-10T01:20:42","slug":"que-hace-melodia-inevitable","status":"publish","type":"post","link":"https:\/\/legatto.space\/en\/que-hace-melodia-inevitable\/","title":{"rendered":"What makes a melody feel inevitable?"},"content":{"rendered":"<!-- =========================================================\n     LEGATTO SPACE\n     \u00bfQU\u00c9 HACE QUE UNA MELOD\u00cdA SE SIENTA INEVITABLE?\n     Beaver Builder \u00b7 HTML Module\n     El H1 lo aporta el t\u00edtulo del post en WordPress\n     ========================================================= -->\n<style>\n\/* =========================================================\n   ROOT\n   ========================================================= *\/\n.legatto-melodia{\n    --lm-black:#141414;\n    --lm-dark:#212121;\n    --lm-sun:#f6c703;\n    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========================================================= *\/\n.lm-cta{\n    border:1px solid var(--lm-black);\n    padding:clamp(35px,6vw,65px);\n    margin:55px 0 20px;\n    display:grid;\n    grid-template-columns:1fr auto;\n    gap:40px;\n    align-items:center;\n}\n.lm-cta h3{\n    font-size:clamp(25px,3vw,35px);\n    margin:0 0 10px;\n}\n.lm-cta p{\n    margin:0;\n    max-width:700px;\n}\n.lm-cta a{\n    display:inline-block;\n    background:var(--lm-black);\n    color:var(--lm-white);\n    padding:15px 24px;\n    border:1px solid var(--lm-black);\n    text-decoration:none;\n    font-size:12px;\n    text-transform:uppercase;\n    letter-spacing:.1em;\n    font-weight:800;\n    white-space:nowrap;\n}\n.lm-cta a:hover{\n    background:var(--lm-sun);\n    border-color:var(--lm-sun);\n    color:var(--lm-black);\n}\n\/* =========================================================\n   RESPONSIVE\n   ========================================================= *\/\n@media(max-width:820px){\n    .lm-hero-grid{\n        grid-template-columns:1fr;\n        gap:20px;\n    }\n    .lm-melody-field{\n        min-height:300px;\n    }\n    .lm-expectation-grid{\n        grid-template-columns:1fr;\n    }\n    .lm-flow-line{\n        grid-template-columns:1fr;\n    }\n    .lm-flow-step{\n        padding:20px 0 20px 35px;\n        border-top:0;\n        border-left:1px dashed rgba(246,199,3,.35);\n    }\n    .lm-flow-step::before{\n        top:22px;\n        left:-8px;\n    }\n    .lm-flow-step::after{\n        display:none;\n    }\n    .lm-contours{\n        grid-template-columns:1fr;\n    }\n    .lm-gold-grid{\n        grid-template-columns:1fr;\n    }\n    .lm-cta{\n        grid-template-columns:1fr;\n    }\n}\n@media(max-width:520px){\n    .legatto-melodia{\n        font-size:16px;\n    }\n    .lm-hero{\n        padding:32px 25px;\n    }\n    .lm-melody-field{\n        transform:scale(.9);\n        margin:-15px;\n    }\n    .lm-lab-row{\n        grid-template-columns:1fr;\n        gap:6px;\n    }\n    .lm-demo{\n        padding:30px 18px;\n    }\n}\n@media(prefers-reduced-motion:reduce){\n    .lm-path-line{\n        animation:none !important;\n    }\n}\n<\/style>\n<article>\n<!-- =========================================================\n     HERO\n     ========================================================= -->\n<section>\n                Melody \u00b7 expectation \u00b7 memory\n            <h2>\n                What makes a melody feel inevitable?\n            <\/h2>\n            \n                There are melodies that seem to have always existed. We hear a few notes and, when the next one arrives, we feel that it could hardly have been any other.\n            \n                <strong>\n                    A melody can feel inevitable when each note builds anticipation for the next, and the progression balances continuity, repetition, tension, and surprise. The ear begins to anticipate possibilities until certain movements seem to become the natural destiny of the phrase.\n                <\/strong>\n                arrive\n<\/section>\n\n    The feeling of inevitability doesn&#039;t mean a melody is mathematically predictable. It means that, after listening to its journey,\n    <strong>The following note seems to make sense within everything that has already happened<\/strong>.A melody is a sequence, but our perception never hears each sound completely in isolation. Each note retains something of the preceding ones and modifies what we imagine might happen next. As we listen, our brain is learning the melody itself: it detects movements, recurring pitches, durations, accents, repetitions, and possible centers of stability. At the same time, our entire history as listeners comes into play. Decades of research on musical expectation suggest that we implicitly learn many regularities from the music we are exposed to. This makes some continuations more likely than others, even when we hear a melody for the first time. Studies on melodic expectation have found that both the\n    <strong>statistical learning<\/strong> how certain principles of perceptual organization influence the note a person expects to hear next.\n    <strong>\n        <a href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/30913527\/\"\n           target=\"_blank\"\n           rel=\"noopener noreferrer\">\n            Morgan, Fogel, Nair and Patel\n        <\/a>\n    <\/strong>\n    They observed, for example, that listeners combine learned patterns with tendencies such as favoring relatively close movements between pitches. The central idea\n    <strong>\n        A great melody doesn&#039;t need to tell us exactly what note is coming. It needs to make us feel that possibilities exist\u2026 and then play cleverly with them.\n    <\/strong>\n<!-- =========================================================\n     EXPECTATION\n     ========================================================= -->\n<h2>Listening to a melody is also predicting<\/h2>\n\n    Try something very simple: mentally sing the first few notes of a song you know and stop just before a key note. You can probably \u201chear\u201d the continuation even though the actual sound has already faded. This experience reveals something fundamental: listening to music involves building expectations. 01\n        <strong>\n            What we already know\n        <\/strong>\n        Our accumulated musical experience generates expectations about scales, movements, rhythms, and resolutions that we have encountered many times. 02\n        <strong>\n            What just happened\n        <\/strong>\n        The sentence itself creates temporal rules: if a figure appears several times, we begin to expect it to continue, return, or transform. 03\n        <strong>\n            What could still happen\n        <\/strong>\n        As the phrase progresses, some continuations feel more plausible than others. The melody begins to draw its own horizon. Current research precisely distinguishes between expectations built up over years of musical exposure and expectations that emerge in a matter of seconds from the music we are hearing. A study published in 2024 found that expectations related to learned tonal regularities and those arising from the immediate contour of a melody can interact during perception.\n    <strong>\n        <a href=\"https:\/\/www.sciencedirect.com\/science\/article\/pii\/S0167876023005639\"\n           target=\"_blank\"\n           rel=\"noopener noreferrer\">\n            Ishida and Nittono\n        <\/a>\n    <\/strong>\n    They describe these two prediction scales as expectations\n    <em>schematics<\/em> and <em>dynamics<\/em>.\n\n<!-- =========================================================\n     NARROWING POSSIBILITIES\n     ========================================================= -->\n<section>\n    <h2>\n        The melody narrows the space of possibilities\n    <\/h2>\n    \n        At the beginning of a sentence, hundreds of things can happen. After several notes, some decisions start to feel much more natural than others.\n    \n            <strong>\n                First note\n            <\/strong>\n                Almost everything remains open.\n            <strong>\n                Address\n            <\/strong>\n                We discovered where it&#039;s starting to move.\n            <strong>\n                Pattern\n            <\/strong>\n                Relationships appear that we can recognize.\n            <strong>\n                Expectation\n            <\/strong>\n                Some continuations gain probability.\n            <strong>\n                Destination\n            <\/strong>\n                An arrival can feel surprising and logical at the same time.\n<\/section>\n\n    Imagine a melody that begins by slowly ascending. Then it rises again. Then again. At some point, the movement itself begins to raise questions: How far will it go? Will it continue to ascend? Will it leap? Will it finally change direction? Each new note modifies this map. The melody, which at the beginning had countless possible futures, begins to construct its own internal logic.\n\n<!-- =========================================================\n     INGREDIENTS\n     ========================================================= -->\n<h2>Six forces that can make a melody inevitable<\/h2>\n<table>\n    <thead>\n        <tr>\n            <th>Element<\/th>\n            <th>What produces<\/th>\n            <th>Example<\/th>\n        <\/tr>\n    <\/thead>\n    <tbody>\n        <tr>\n            <td>Repetition<\/td>\n            <td>\n                It allows us to recognize an identity and anticipate its return.\n            <\/td>\n            <td>\n                A four-note cell appears several times.\n            <\/td>\n        <\/tr>\n        <tr>\n            <td>Contour<\/td>\n            <td>\n                It makes us perceive direction: ascent, descent, arc, broken movement.\n            <\/td>\n            <td>\n                A phrase rises gradually and then falls back.\n            <\/td>\n        <\/tr>\n        <tr>\n            <td>Proximity<\/td>\n            <td>\n                It maintains continuity between one height and the next.\n            <\/td>\n            <td>\n                Several notes advance mainly through small movements.\n            <\/td>\n        <\/tr>\n        <tr>\n            <td>Strain<\/td>\n            <td>\n                It makes certain heights seem to beg for continuation.\n            <\/td>\n            <td>\n                A note is suspended before a stable arrival.\n            <\/td>\n        <\/tr>\n        <tr>\n            <td>Rhythm<\/td>\n            <td>\n                It tells us not only what might arrive, but when we expect it to arrive.\n            <\/td>\n            <td>\n                A rhythmic pattern prepares a long note at the end of the phrase.\n            <\/td>\n        <\/tr>\n        <tr>\n            <td>Surprise<\/td>\n            <td>\n                Prevent the prediction from becoming completely automatic.\n            <\/td>\n            <td>\n                The phrase meets our expectation, but it does so in a slightly different way.\n            <\/td>\n        <\/tr>\n    <\/tbody>\n<\/table>\n<!-- =========================================================\n     CONTOUR\n     ========================================================= -->\n<h2>Before the notes, we often hear a form<\/h2>\n\n    Imagine three melodies.\n\n        <strong>\n            Upward\n        <\/strong>\n            A sense of direction and expansion.\n        <strong>\n            Bow\n        <\/strong>\n            Departure, peak, and return.\n        <strong>\n            Broken\n        <\/strong>\n            Greater contrast and less immediate predictability. <strong>melodic contour<\/strong> It is simply the pattern that appears if we follow the relative direction of the pitches: rising, falling, or remaining constant. We don&#039;t need to identify each note to perceive it. Experiments by Graves, Micheyl, and Oxenham found that some expectations associated with contour are so general that they can appear even when the same type of movement is represented by changes in other sonic qualities.\n    <strong>\n        <a href=\"https:\/\/pmc.ncbi.nlm.nih.gov\/articles\/PMC4605576\/\"\n           target=\"_blank\"\n           rel=\"noopener noreferrer\">\n            His research on expectation and contour\n        <\/a>\n    <\/strong>\n    It helps to show the extent to which we perceive relationships and directions, in addition to individual notes.\n\n<!-- =========================================================\n     REPETITION\n     ========================================================= -->\n<h2>Repetition creates a promise<\/h2>\n\n    One of the most powerful tools for building inevitability is also one of the simplest:\n    <strong>to make something come back<\/strong>.The first time we hear a musical figure, we don&#039;t yet know if it&#039;s important. The second time, we begin to recognize it. The third time, an expectation already exists. 1 2 3 4 5 6 7 When we recognize a form, we stop hearing just a succession of pitches. We begin to hear a phrase with a memory. But repeating the exact same thing forever can quickly exhaust our curiosity. That&#039;s why many memorable melodies work with a more interesting relationship:\n\n    <strong>\n        repetition + small transformation.\n    <\/strong>\n\n    We recognize the idea well enough to feel continuity, but something has changed: perhaps the last note, the rhythm, the initial pitch, or the direction. This balance allows us to feel two things simultaneously:\n    <strong>\u201cI already know this\u201d<\/strong> and\n    <strong>\u201cThis can still take me somewhere else\u201d<\/strong>.\n\n<!-- =========================================================\n     INTERVALS\n     ========================================================= -->\n<h2>A melody needs to know when to walk and when to jump.<\/h2>\n\n    Many melodies use significant amounts of step motion: notes relatively close to one another. There&#039;s a perceptual reason for this. Small movements make it easy to follow a line as a continuous entity. In fact, research on melodic expectation has found a general preference for continuations close in pitch. But a melody built exclusively with small steps could sound overly uniform. Leaps create events. They can open a phrase, reach a climactic note, break a pattern, or introduce tension. And after a large leap, many melodies regain continuity through a change of direction or a more gradual movement. One way to think of it\n    <h2>\n        Walking creates continuity.<br \/>\n        Jumping creates meaning.\n    <\/h2>\n            <strong>\n                Steps\n            <\/strong>\n            They connect notes and make the route legible.\n            <strong>\n                Jumps\n            <\/strong>\n            They can create surprise, emphasis, or expansion.\n            <strong>\n                Change of direction\n            <\/strong>\n            It can balance a previous movement.\n            <strong>\n                Return\n            <\/strong>\n            It allows you to perceive an arrival or closure.\n<!-- =========================================================\n     HARMONY\n     ========================================================= -->\n<h2>Harmony changes the meaning of the same note<\/h2>\n\n    Up to this point, we&#039;ve spoken of melody almost as if it were standing alone. But the same pitch can feel completely different depending on the underlying chord. Over one harmony, it might feel stable. Over another, suspended. Over yet another, it might acquire such evident tension that it seems to be moving toward a nearby note. This means that melodic inevitability often arises from a collaboration between <strong>horizontal direction<\/strong> and\n    <strong>harmonious context<\/strong>.The melody recalls its origins. The harmony alters its apparent location. And together they suggest where it might go next.\n\n<!-- =========================================================\n     SURPRISE\n     ========================================================= -->\n<h2>If everything is predictable, it stops feeling inevitable.<\/h2>\n\n    It seems like a contradiction. If we want a melody to seem logical, we could try to make it always do exactly what we expect. But then it stops surprising us. And when no decision forces us to readjust our expectations, attention can wane. The literature on musical cognition has studied precisely the experience of uncertainty and probability during listening. Research by Marcus Pearce and colleagues shows that we can model some of our musical expectations as probabilistic predictions learned through exposure. The model\n    <strong>\n        <a href=\"https:\/\/pmc.ncbi.nlm.nih.gov\/articles\/PMC6849749\/\"\n           target=\"_blank\"\n           rel=\"noopener noreferrer\">\n            IDyOM and research on statistical music learning\n        <\/a>\n    <\/strong>\n    It analyzes, for example, how predictable an event is within a given musical context. This offers a powerful way to think about composition: Musical Expectation\n    <strong>\n        A completely obvious note provides little information. A completely disconnected note can break the coherence. Between the two lies a vast territory where surprise, tension, and the pleasure of recognizing a direction reside.\n    <\/strong>\n\n    A compelling melody can take us exactly where we expected to go, while making the journey less predictable than we imagined.\n\n<!-- =========================================================\n     DESTINATION\n     ========================================================= -->\n<h2>The final grade can begin long before it arrives<\/h2>\n\n    Some notes gain significance because the melody prepares them. Perhaps we repeatedly hear a similar pitch. Perhaps an ascending direction seems to be building towards a climax. Perhaps the rhythm creates a wider space. Perhaps the harmony increases the tension. When the anticipated note finally appears, we experience something akin to recognition. The note was absent, but it already occupied a place within our imagination. This is why some resolutions can feel so satisfying.\n    <strong>Music allows us to partially hear an event before it happens.<\/strong>\n\n<!-- =========================================================\n     CULTURE\n     ========================================================= -->\n<h2>The \u201cinevitable\u201d also depends on what we have learned to listen to<\/h2>\n\n    Here&#039;s an important point to clarify. There isn&#039;t a single, universal melodic grammar that dictates which continuation should feel right to every human being. Our musical experience matters. Someone who has listened to certain scales, melodic turns, cadences, and structures for years develops expectations related to those musical languages. A review by Marcus Pearce on\n    <strong>\n        <a href=\"https:\/\/nyaspubs.onlinelibrary.wiley.com\/doi\/10.1111\/nyas.13654\"\n           target=\"_blank\"\n           rel=\"noopener noreferrer\">\n            statistical learning and musical enculturation\n        <\/a>\n    <\/strong>\n    It argues that exposure to different cultures and musical styles contributes to the formation of distinct internal models regarding the probabilities of musical events. This explains something beautiful:\n\n    <strong>\n        Learning new music also means learning new ways of anticipating.\n    <\/strong>\n\n    An unfamiliar scale may initially seem strange because we don&#039;t yet know exactly what to expect from it. After becoming familiar with that language, we begin to recognize destinations, directions, and relationships that previously went unnoticed.\n\n<!-- =========================================================\n     PRACTICAL LAB\n     ========================================================= -->\n<section>\n        Composition laboratory\n    <h2>\n        How to test this idea with a five-note melody\n    <\/h2>\n    \n        You can do it with your voice, a keyboard, a guitar, or any instrument capable of producing pitch. STEP 01\n            <strong>\n                Choose only three notes.\n            <\/strong>\n            \n                Improvise a very small shape until you find something you can immediately remember. STEP 02\n            <strong>\n                Repeat it.\n            <\/strong>\n            \n                Play it two or three times. Notice how the repetition begins to make it your own. STEP 03\n            <strong>\n                Only change the ending.\n            <\/strong>\n            \n                Keep the first notes and look for another one. Listen to which one seems to naturally continue the phrase and which one creates the most surprise. STEP 04\n            <strong>\n                Add a jump.\n            <\/strong>\n            \n                Change one of the small movements to a larger interval. Ask yourself if you now need to compensate or change direction. STEP 05\n            <strong>\n                Listen to where it wants to end.\n            <\/strong>\n            \n                Stop just before the last note and sing it in your head. Then try three different endings.\n            \n<\/section>\n<!-- =========================================================\n     COMPOSITION QUESTIONS\n     ========================================================= -->\n<h2>More useful questions than \u201cwhat is the correct note?\u201d<\/h2>\n\n    When composing a melody, it can be tempting to look for absolute rules. But these questions often open up more interesting possibilities:\n\n            <strong>\n                What is the ear waiting for now?\n            <\/strong>\n            Do I want to meet that expectation or postpone it?\n            <strong>\n                Which part deserves to be repeated?\n            <\/strong>\n            Is there already a sufficiently recognizable idea?\n            <strong>\n                Does the phrase have a direction?\n            <\/strong>\n            Is it going up, down, back, or turning?\n            <strong>\n                Where is the important note?\n            <\/strong>\n            Is the melody preparing her sufficiently?\n            <strong>\n                Is there too much movement?\n            <\/strong>\n            Perhaps a long note or a repetition can restore stability.\n            <strong>\n                Is there too little?\n            <\/strong>\n            Perhaps a jump, a silence, or a change of direction can renew attention.\n<!-- =========================================================\n     WHY SOME SIMPLE MELODIES WIN\n     ========================================================= -->\n<h2>Why some simple melodies are extraordinary<\/h2>\n\n    Complexity and depth are not the same thing. A melody can contain only a few pitches and produce a tremendous sense of direction. What matters is the relationship between them. A note repeated three times before ascending can transform that ascent into an event. A pause can give weight to a future note. A small variation can reveal a structure that was already present. A single leap can rearrange the entire phrase. Notes are the bare essentials.\n\n\n    <strong>The melody lies in the relationships.<\/strong>\n\n<!-- =========================================================\n     FAQ\n     ========================================================= -->\n<h2>Frequently Asked Questions<\/h2>\n        <h3>\n            What makes a melody catchy?\n        <\/h3>\n        \n            There is no single formula. Repetition, a clear structure, a recognizable outline, rhythm, and a degree of predictability can all help a melody become memorable. A memorable melody also doesn&#039;t need to be completely simple: it often helps if it combines familiarity with some distinctive element.\n        \n        <h3>\n            Should a good melody primarily move in steps?\n        <\/h3>\n        \n            No. Small movements promote continuity, but leaps can add energy, emphasis, and character. Many compelling sentences alternate between both types of movement.\n        \n        <h3>\n            Does melody depend on harmony?\n        <\/h3>\n        \n            It can exist without explicit harmonic accompaniment, but our ear can infer centers of stability and tonal relationships. When harmony is present, the perceptual function of each note changes profoundly.\n        \n        <h3>\n            Can music theory teach me how to write better melodies?\n        <\/h3>\n        \n            Yes, especially when used as vocabulary to understand relationships and possibilities. Scales, intervals, rhythm, harmony, and form allow us to identify resources that can then be creatively manipulated.\n        \n        <h3>\n            Are there universal rules for writing melodies?\n        <\/h3>\n        \n            While experimentally studied perceptual tendencies exist, culture, style, context, and the listener&#039;s experience profoundly influence what we expect to hear. It&#039;s more helpful to think in terms of probabilities and relationships rather than absolute rules.\n        \n        <h3>\n            How do I know when a melody is finished?\n        <\/h3>\n        \n            A useful way to test this is to stop the sentence just before the end. If you can clearly imagine a finish, the sentence has already created some expectation. Then you can decide whether to confirm it, deflect it, or leave it unresolved.\n        \n<!-- =========================================================\n     CLOSING\n     ========================================================= -->\n<h2>\n    Perhaps an inevitable melody is a surprise we recognize\n<\/h2>\n\n    Melodies live in a strange realm of time. Each note exists for only an instant. But when it arrives, it carries with it the memory of those that came before and shapes our imagination of those yet to come. We hear the present while simultaneously remembering and anticipating. That&#039;s why a melody can produce such a unique sensation: we know we could never have predicted it exactly, but once it appears, it&#039;s difficult to imagine it happening any other way.\n\n    <strong>\n        Perhaps that&#039;s part of its beauty: building a path that only seems inevitable after having traveled it.\n    <\/strong>\n<!-- =========================================================\n     CTA\n     ========================================================= -->\n<section>\n        <h3>\n            Understanding music changes the way it is created.\n        <\/h3>\n        \n            In Musical Alchemy we explore rhythm, melody, harmony, intervals, listening and improvisation as living tools to understand and transform our relationship with music.\n        \n        <a href=\"https:\/\/legatto.space\/en\/alquimia-musical\/\">\n            Explore Musical Alchemy\n        <\/a>\n<\/section>\n<!-- =========================================================\n     SOURCES\n     ========================================================= -->\n<section>\n    <h3>\n        Sources and readings\n    <\/h3>\n    <ul>\n        <li>\n            <a\n                href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/30913527\/\"\n                target=\"_blank\"\n                rel=\"noopener noreferrer\">\n                Morgan, Fogel, Nair &amp; Patel \u2013 Statistical learning and Gestalt-like principles predict melodic expectations\n            <\/a>\n            \u00b7 Cognition, 2019.\n        <\/li>\n        <li>\n            <a\n                href=\"https:\/\/pmc.ncbi.nlm.nih.gov\/articles\/PMC4605576\/\"\n                target=\"_blank\"\n                rel=\"noopener noreferrer\">\n                Graves, Micheyl &amp; Oxenham \u2013 Expectations for Melodic Contours Transcend Pitch\n            <\/a>\n            \u00b7 Journal of Experimental Psychology, 2014.\n        <\/li>\n        <li>\n            <a\n                href=\"https:\/\/pmc.ncbi.nlm.nih.gov\/articles\/PMC6849749\/\"\n                target=\"_blank\"\n                rel=\"noopener noreferrer\">\n                Marcus Pearce \u2013 Statistical learning and probabilistic prediction in music cognition\n            <\/a>\n            \u00b7 Annals of the New York Academy of Sciences.\n        <\/li>\n        <li>\n            <a\n                href=\"https:\/\/pubmed.ncbi.nlm.nih.gov\/22847872\/\"\n                target=\"_blank\"\n                rel=\"noopener noreferrer\">\n                Pearce &amp; Wiggins \u2013 Auditory expectation: the information dynamics of music perception and cognition\n            <\/a>\n            \u00b7 Topics in Cognitive Science, 2012.\n        <\/li>\n        <li>\n            <a\n                href=\"https:\/\/www.sciencedirect.com\/science\/article\/pii\/S0167876023005639\"\n                target=\"_blank\"\n                rel=\"noopener noreferrer\">\n                Ishida &amp; Nittono \u2013 Relationship between schematic and dynamic expectations of melodic patterns\n            <\/a>\n            \u00b7 International Journal of Psychophysiology, 2024.\n        <\/li>\n        <li>\n            <a\n                href=\"https:\/\/online.ucpress.edu\/mp\/article-abstract\/22\/4\/663\/62196\/A-Model-of-Melodic-Expectation\"\n                target=\"_blank\"\n                rel=\"noopener noreferrer\">\n                Elizabeth Margulis \u2013 A Model of Melodic Expectation\n            <\/a>\n            \u00b7 Music Perception, 2005.\n        <\/li>\n    <\/ul>\n<\/section>\n<\/article>","protected":false},"excerpt":{"rendered":"<p>Some melodies seem to discover themselves as they unfold. We explore how repetition, contour, tension, memory, and expectation can make a note feel inevitable.<\/p>","protected":false},"author":1,"featured_media":2525,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[21],"tags":[96,37,99,97],"class_list":["post-2522","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-melodia","tag-musica","tag-narrativa-musical","tag-pegajosa"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>\u00bfQu\u00e9 hace que una melod\u00eda se sienta inevitable? | Legatto<\/title>\n<meta name=\"description\" content=\"\u00bfPor qu\u00e9 algunas melod\u00edas parecen llevarnos al lugar correcto? 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