Date of this Version
Music Perception: An Interdisciplinary Journal
The implication-realization model hypothesizes that emotional syntax in music is a product of two expectation systems—one top down, the other bottom up. Syntactic mismatch or conflict in realizations can occur either within each system or between them. The theory argues that interruption or suppression of parametric expectations generated separately by the two systems explains certain types of recurrent aesthetic strategies in melodic composition and accounts for the most common kinds of musical forms (AAA, AAB, ABB, ABC, and ABA).
Published as "The Top-down and Bottom-up Systems of Musical Implication: Building on Meyer's Theory of Emotional Syntax," Eugene Narmour, Music Perception: An Interdisciplinary Journal, Vol. 9 No. 1, Fall, 1991; (pp. 1-26) DOI: 10.2307/40286156. © 1991 by the Regents of the University of California. Copying and permissions notice: Authorization to copy this content beyond fair use (as specified in Sections 107 and 108 of the U. S. Copyright Law) for internal or personal use, or the internal or personal use of specific clients, is granted by the Regents of the University of California for libraries and other users, provided that they are registered with and pay the specified fee via Rightslink® or directly with the Copyright Clearance Center.
Narmour, E. (1991). The Top-Down and Bottom-Up Systems of Musical Implication: Building on Meyer's Theory of Emotional Syntax. Music Perception: An Interdisciplinary Journal, 9 (1), 1-26. http://dx.doi.org/10.2307/40286156
Date Posted: 11 October 2016
This document has been peer reviewed.