 Levinson’s account is developed and refined in considerable detail over the course of his book. And there are two features of this account that bear special mention here. One is the fact that each listener must update her expectations about what is going to happen in the music at each moment of listening. The other is that no large-scale musical structures are invoked in this story—and in this latter regard it is, perhaps, best described as a bottom-up only tale of musical perception.