Sorry. The question is not clear to me.

Sorry for not being clear - I'm looking into structural priming, i.e. the idea that a certain language structure can prime the processing of a target sentence with the same structure so that it's processed more easily. 

I'm wondering if there's any research showing that a syntactic violation in the priming sentence makes the processing of a syntactic violation in the target sentence easier. 

I'm thinking this is most likely in the language domain, however any studies showing this in a domain with hierarchical structure would be useful (e.g. music, arithmetic, action etc). 

Hope that's clearer - thanks for your message!  

Thanks Kristin :) 

I think when you take these two papers together, the first on using syntactic priming to investigate the processing of anomalous sentences, and the second on the repetition of speech errors, you get as close to an answer to your question as I think we can get currently.

http://www.sciencedirect.com/science/article/pii/S0010027711002587

http://www.sciencedirect.com/science/article/pii/S0010027710001757

Thanks a lot Alissa, they're both really interesting papers. The repetition of speech errors one is particularly interesting - I'll have a think! 

Thanks, Anna 

Perhaps with respect to priming and its specific relation to music, one can take the example of Mozart's "Dissonance" Quartet (K465) as a kind of a foreshadow of different syntactic structures that would emerge after the classical period. The characterization and classification of the quartet as "dissonant", points to syntactic violation for listeners of the time. But would have easily gone unnoticed for more modern listeners ever since dissonance, atonality and microtonality became part of the syntactic norm for modern music. Since then, it is interesting to note that priming and violation are very much integral parts of the motivic development within a musical piece. And not just between period pieces.

Lawrence M. Zbikowski discusses this and other interesting points, in particular on pg. 140, of his book:Conceptualizing Music: Cognitive Structure, Theory, and Analysis.