 Mental imagery also plays a crucial role in our appreciation of music, primarily as a result of the importance of musical expectations, which are a form of auditory mental imagery. Expectations play a crucial role in our engagement with music (and art in general). When we are listening to a song, even when we hear it for the first time, we have some expectations of how it will continue. And when it is a tune we are familiar with, this expectation can be quite strong (and easy to study experimentally). When we hear Ta-Ta-Ta at the beginning of the first movement of Beethoven’s Fifth Symphony in C minor, Op. 67 (1808), we will strongly anticipate the closing Taaam of the Ta-Ta-Ta-Taaaam. Much of our expectations are fairly indeterminate: when we are listening to a musical piece we have never heard before, we will still have some expectations of how a tune will continue, but we don’t know what exactly will happen. We can rule out that the violin glissando will continue with the sounds of a beeping alarm clock (unless it’s a really avant-garde piece…), but we can’t predict with great certainty how exactly it will continue. Our expectations are malleable and dynamic: they change as we listen to the piece.