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Dec 1, 2014 · This article offers an overview of a research program related to the metaphorization of music. In a short analysis, the omnipresence of metaphors in the written discourse about music is first ...
- Mihailo Antovic
Feb 19, 2015 · In a short analysis, the omnipresence of metaphors in the written discourse about music is first highlighted. After this, the author defines several dichotomies whose clarification may be useful in the theoretical research of musical metaphoricity (intrinsic and extrinsic metaphors; musical conceptualization and metaphorization; absolute and ...
- Mihailo Antovic
- 2015
Feb 17, 2015 · This article offers an overview of a research program related to the metaphorization of music. In a short analysis, the omnipresence of metaphors in the written discourse about music is first highlighted. After this, the author defines several dichotomies whose clarification may be useful in the theoretical research of musical metaphoricity (intrinsic and extrinsic metaphors; musical ...
May 31, 2022 · 6 Conclusions. The present chapter has addressed the old question of music and meaning from a new angle: by cross-linking metaphor and blending processes from cognitive linguistics to the problem of intentionality from the philosophy of mind, in the form of a semantic quest for “reference”.
Oct 15, 2009 · Summary. Form, meaning, and context. Philosophical writers on music who argue that wordless music does not mean anything sometimes refer to it as ‘pure form’. Peter Kivy says of Beethoven's Eroica Symphony, for example, that ‘it has no content to reveal, no message to decode’, and that in the teaching of the work ‘few instructors ...
Apr 16, 2019 · 1. It is possible to object to the notion of musical semantics, if one believes meaning in music has to be denotational, i.e., referring to something specific in the world and asserting something about it.
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Form—the shape, layout, or arrangement of a piece of music—is a basic and foundational category in Western musical thought and practice. Attempting to sketch a more detailed and precise definition of the term, however, presents one of the most difficult tasks when writing about music: a challenge Pieter Bergé describes as a “precarious enterprise” (Bergé 2010, 12).
