The origins of this work, as in much research, lie in a personal experience. My first exposure to a selection of Schoenberg’s piano works (which happened to be through a recording) had resulted in an ambivalent response, but upon hearing the same recording some months later for a second time, I found the experience more enjoyable and the music much easier to understand. Perhaps this was to be expected, but I was curious: what was it about the second listening that made it so much easier than the first? What was it that let me access the music in a manner akin to other piano music, and experience emotional responses to it, when I had not been able to do either of these things the first time? There may have been many situational factors, but becoming familiar with the music almost certainly played a role in this transformation.
Prior, H. (2013). Familiarity, schemata and patterns of listening. In E. King, & H. M. Prior (Eds.), Music and familiarity: listening, musicology and performance. Routledge