Musical semantics: Dimensions, processes, and neural correlates 107 cloze-probability of words): The N5 was smaller when elicited on words with a se-mantic low-cloze probability (”He sees the cold beer”) compared to when elicited on words with a semantic high-cloze probability (”He drinks the cold beer”; see Figure 4B). Importantly, the N5 did not interact with the LAN (i.e., the N5 did not interact with the syntactic processing of words), indicating that the N5 is not simply modu-lated by any type of deviance, or incongruency, but that the N5 is speci cally modu-lated by neural mechanisms underlying semantic information processing (see also Figure 4C). That is, the N5 potential can be modulated by semantic processes, namely by the activation of lexical/conceptual representations of words with differ-ent semantic t to a previous context. This modulation indicates that the N5 is re-lated to the processing of meaning. Note that the harmonic relation between the chord functions of a harmonic sequence is an intra-musical reference (i.e., a refer-ence of one musical element to another musical element, and not a reference to any-thing belonging to the extra-musical world). Therefore, we have reason to believe that the N5 refects the processing of intra-musical meaning.It appears that intra-musical meaning is modulated by musical expression (e. g., emphasizing an irregular musical event by playing it with an accent), and that such modulation is also refected in N5-potentials: In a study in which excerpts of clas-sical piano sonatas were played either with musical expression (played by a pianist) or without expression (i.e., without any variations in tempo and attack), chords played in the condition with expression elicited a larger N5 than the same chords played in the condition without expression (Koelsch et al., 2008).Neural generators of the N5. The locations of the neural generators of the N5 have remained elusive. This is in part due to the dif culty that in most experiments the N5 follows the ERAN (but see also Poulin-Charronnat et al., 2006), making it dif -cult to differentiate the neural correlates of N5 and ERAN in experiments using functional magnetic resonance imaging. The N5 usually has a clear frontal scalp dis-tribution, thus the scalp distribution of the N5 is more anterior than that of the N400, suggesting at least partly different neural generators. Perhaps the N5 orig-inates from combined sources in the temporal lobe (possibly overlapping with those of the N400 in BAs 21/37) and the frontal lobe (perhaps in the posterior part of the inferior frontal gyrus). This needs to be speci ed, for example using EEG source lo-calization in a study that compares an auditory N400 with an auditory N5 within subjects.Further intra-musical phenomena of tonal music. The previous sections described that, in tonal music, intra-musical meaning can emerge from harmonic context build-up, or – on a more abstract level – from the build-up of structure. Such a struc-ture has a certain stability (for example, a harmonic structure consisting of chords of the harmonic core is more stable compared to a structure consisting mainly of chords not belonging to the harmonic core). Moreover, a musical structure has a cer -tain extent (for example, a harmonic structure can be con ned to a single key, or span several keys). Extent and stability of structures are further phenomena that give rise to intra-musical meaning. Moreover, as described in the previous sections,