108 Stefan Koelsch intra-musical meaning can emerge from harmonic incongruity, or – again, on a more abstract level – from a breach of an (expected) structure.In tonal music, a structural breach is usually followed by a post-breach structure (e. g., chord functions following a deceptive cadence). The post-breach structure leads to the resolution of the structural breach (for example, the tonic resolving a structural breach at the end of a harmonic sequence). Post-breach structure and res-olution are also phenomena that give rise to intra-musical meaning: The chord func-tions of a post-breach structure have a different intra-musical meaning than the same chord functions in a context without breach, and the tonic resolving a struc-tural breach has a different intra-musical meaning (and is harmonically integrated in a different way) than a tonic at the end of a harmonic sequence without a struc -tural breach. The differentiation between post-breach structure and resolution is im-portant because these structural phenomena give rise to different emotional re-sponses, namely tension due to the anticipation of resolution during the post-breach structure, and relaxation during the resolution. Finally, in tonal music intra-musical meaning can also emerge from large-scale structural relations (for example, the chord functions of a second theme of a sonata are integrated differently during the exposi-tion, where it is in a different key than the rst theme, compared to the recapitula-tion, where it is in the same key as the rst theme).These principles are not con ned to music. On the contrary: They refect rather general principles, parts of which have been described, for example, with regard to lyric poetry, rhetoric, aesthetics, visual arts, and linguistics (e. g., Jakobson, 1960).5 Use of the N5 as dependent variable enables music psychologists to further test and investigate these principles. With regard to tonal music, it is important to under-stand that the meaning emerging from these principles is not the iconic meaning (or a metaphorical meaning) of “build-up”, “extent”, “stability” etc., but the meaning emerging from harmonic integration due to the establishment of a structural model, its modi cations, etc. This does, however, not exclude that representations of such extra-musical concepts are activated during the processing of musical structure. For example, in music analysis, music theorists often use such extra-musical concepts metaphorically to describe intra-musical structural principles (see also Cook, 1992) suggesting that (at least in those individuals) such intra-musical phenomena might also give rise to extra-musical meaning.Furthermore, it is important to note that harmonic integration is implicitly re-lated to musical expectancy, and that the violation, or ful lment of expectancies has emotional effects (such as tension, suspense, and relaxation; for extensive accounts on this issue see Huron 2006; Lerdahl, 2001). For example, Leonard Meyer (1956) stated that “as soon as the unexpected, or for that matter the surprising, is experi-enced, the listener attempts to t it into the general system of beliefs relevant to the style of the work. […] Three things may happen: (1) The mind may suspend judge-5 Roman Jakobson de ned the poetic function as the projection of “the principle of equivalence from the axis of selection into the axis of combination. Equivalence is promoted to the constitutive device of the sequence” (ibid., p. 358). Notably, according to Jakobson, the poetic function gives rise to meaning emerging from structure.