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Mar 24, 2021 · For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results.
- Simon Schaerlaeken, Donald Glowinski, Didier Grandjean
- 2021
Sep 19, 2018 · Metaphors were identified, analysed in relation to contextual meanings, and explored in relation to relevant literature. The findings suggest that with attentive use, metaphors can be useful “bridges to learning” in music instruction contexts.
- Jocelyn Wolfe
- 2019
building practices on grounding metaphors for developing music education as a means for promoting the common good. In this paper, our conversation explores some metaphors that might assist music educators’ understanding and practice as agents of social change. On Models and Metaphors in Music Education (Estelle)
Sep 19, 2018 · This study extends the limited literature on the application of metaphors within advanced music instruction, providing new insights into the nature and function of metaphor in the way that music is perceived, performed and taught.
Jan 1, 2010 · The metaphors satisfy the two basic conditions for mixed metaphor: (1) they occur in textual adjacency, i.e. within a single metaphor cluster, and (2) they do not (for the most part) share any imagistic ontology or any direct inferential entailments between them.
- Michael Kimmel
- 2010
Aug 1, 2016 · Drawing on musicological, philosophical, and neuroscientific literature, we suggest that metaphor acts at key stages along and between physical, biological, cognitive, and contextual processes, and propose a model of music experience in which metaphor mediates between language, emotion, and aesthetic response. 1.
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What is a musical metaphor?
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Is metaphor a mediating mechanism between music and emotion?
How do music teachers use images and metaphors?
The fundamental question how and why music can improve wellbeing was discussed. Specific examples of qualitative and quantitative approaches were presented. Studies utilising music listening approaches were compared to studies that adopt a music participation approach.
