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  1. 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. Mixed metaphors like these have traditionally posed a challenge to theorists.

    • Michael Kimmel
  2. Music and Knowledge. Perhaps the first extended discussion that connected music with metaphor appeared in the philosopher Nelson Goodman’s Lan-guages of Art (1968/1976). Goodman was interested in developing a theory of symbols that could apply to works of art as well as to natural language. According to this theory,

  3. Full reference: Antović, M. (2014): Metaphor ab out music o r metaphor in music: A contribution to the cooperation of cognitive linguistics and cognitive musicolog y [Metafora o muzici il i

  4. While it is clear that metaphor is used extensively in music education, little research to date has examined how metaphor is applied in music instruction at advanced levels. In such levels, extramusical referents explain not just the structure of music, but the expressive performance features used to make one interpretation more meaningful to listeners than another.

    • Mihailo Antovic
  5. 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. Mixed metaphors like these have traditionally posed a challenge to theorists.

    • Michael Kimmel
    • 2010
  6. Sep 26, 2006 · Music, by contrast, provides sonic analogs for a wide range of dynamic processes that are marked in hu man experience, especially those associated with the regulation of emotions. Multimodal metaphors that involve language and music draw on both of these resources, as the analyses in the next section shall make clear. 3.

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  8. The effort has three main goals: (1) to present a research program on music, language, and movement that my group has worked on in the last ten years, by introducing the basic methodological conceptions, theoretical developments and experimental results; this includes the role of image schemas, metaphors, conceptual blends and “grounding” in the process in which listeners (attempt to ...

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