[ca] La música està present en totes les cultures. Tot i tenir les mateixes habilitats auditives, la manera en la què experimentem la música depèn del context cultural, la música que escoltem en el dia a dia o si hem rebut entrenament musical. Aquests factors modulen les preferències dels oients i, fins i tot, es manifesten a nivell neurofisiològic. Un dels temes centrals en recerca sobre cognició musical és l'estudi de les expectatives harmòniques que sorgeixen de les relacions jeràrquiques entre notes. Els patrons de tensió i resolució porten a la majoria dels oients a esperar una resolució. Si això no es compleix, el nostre cervell respon automàticament i genera un seguit de respostes neuronals molt ben caracteritzades. Cal destacar que l'experiència pot modificar aquestes expectatives harmòniques. Per exemple, els músics de jazz probablement trobaran acceptables i agradables certes combinacions harmòniques que un músic clàssic o una persona sense entrenament no acceptarien. Aquesta tesi pretén explorar l'efecte de l'entrenament musical en la percepció i la cognició de resolucions inesperades d'expectatives harmòniques, així com també l'efecte de factors psicofísics i sensorials. En un seguit d'estudis conductuals i neurofisiològics, hem trobat que l'entrenament musical pot modular les preferències afectives i cognitives dels oients respecte a irregularitats harmòniques així com les respostes neuronals subjacents. En concret, mostrem com l'entrenament musical reforça i refina els potencials evocats per irregularitats harmòniques i que aquestes respostes neuronals interactuen amb les propietats físiques i contextuals dels estímuls musicals. En conjunt, els nostres resultats amplien la nostra comprensió sobre com l'expertesa musical dóna forma a la percepció i la cognició musical.

[en] Music is present in all cultures. Despite shared auditory abilities, the experience of music changes depending on cultural context, variations in day-to-day exposure or musical expertise. Such factors shape listeners' preferences and even manifest at the neurophysiological level. One of the main topics in music cognition is the study of harmonic expectations arising from the hierarchical relationships between tones. Tension and release patterns lead most listeners to expect musical resolution. If expectations are not fulfilled, our brain responds automatically and elicit a set of well-studied neural responses. Importantly, experience might lead to different harmonic expectations. For example, a trained jazz musician might find certain harmonic combinations acceptable and pleasant while a trained classical musician or a non-musician might not. The present dissertation aims to explore the effect of musical training on the perception and cognition of harmonic unexpectedness, as well as the shaping power that sensory and psychophysical factors may have. In a series of behavioural and neurophysiological studies, we found that musical training shapes the affective and cognitive preferences of the listener toward harmonic unexpected resolutions as well as the underlying neural responses. More specifically, we show that musical training strengthens and refine the event-related potentials toward musical irregularities, which in turn interact with the physical and contextual properties of the musical stimuli. Together, these findings extend our understanding on how musical expertise shapes the perception and cognition of musical unexpectedness.