Abstract

When talking about music, particularly classical music, we frequently describe musical events in terms of expectation and fulfilment. I begin by exploring how this expectation is described and located in music theory. To do this I look at twentieth century writers such as Eugene Narmour and Leonard Meyer before moving onto David Huron’s monograph Sweet Anticipation. I then look at the relationship between expectation, detective narratives and music theory using Edward Cone’s detailed attempt to relate the experience of listening to music to detective fiction. Taking Cone’s ideas, I use that to demonstrate the existence of a particular variant of Slavoj Žižek’s “subject supposed to believe”, an absent subject who enables belief to operate. In this case, it is a “subject supposed to expect” who allows us to structure and mediate our enjoyment of music. I identify three specific instances of this figure: in the historical enjoyment of music, in the enjoyment of the composer, and in the enjoyment of the idea that musical structure enacts an abstraction of desire. In each case I show how these function in ways that intersect with further concepts of Lacanian theory as explicated by Žižek, such as the Ego-Ideal and the master signifier.