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Mar 24, 2021 · “The metaphor helps the student attain an emergent multidimensional grasp of the music. . . .The metaphor creates an affective state within which the performer can attempt to match the model” (Davidson & Scripp, 1989, p. 95). Obviously, using metaphors in music lessons is a task in itself as metaphors are culturally and linguistically specific.
- Simon Schaerlaeken, Donald Glowinski, Didier Grandjean
- 2021
Aug 1, 2016 · Metaphors and CM may act as a bidirectional conduit between music perception and emotion experience, contributing to the transition from the former to the latter (e.g. in a listener being moved as a result of perceiving emotion as being expressed in music), or from the latter to the former (e.g. in a composer adopting certain metaphoric or stylistic devices in order that the score may express ...
- Alessia Pannese, Marc-André Rappaz, Didier Maurice Grandjean
- 2016
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 · Be that as it may, Lakoff and Johnson’s impact – until today, even though Lakoff at least pretty much abandoned the conceptual metaphor theory in the late 1990s – has remained huge. In the language science, it marked the birth of an entire new paradigm known as cognitive linguistics, which remains one of the most influential global approaches to language as this text is being written.
- antovicm@hu-berlin.de
Professor Ferguson, proposing new theories on how music conveys meaning to its listeners, identifies and discusses the elements of musical expression.
- NED-New Edition
Jul 24, 2020 · ABSTRACT. The idea of a musical performance as an “interpretation” cannot be dated before the 1840s, yet we use the term unthinkingly as a synonym for a privileged performance of any music from the past. Tracing a history and pre-history of the metaphor and its usage sheds light on the eclipse of more richly textured models of music-making ...
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Jan 1, 2007 · Michael Spitzer's fundamental thesis is twofold: that all discourse about music is metaphorical, and that music itself employs metaphors. He goes on to argue that the metaphors which we use to describe music involve choice, and—perhaps in tension with this claim—have evolved over the course of Western music history (to which music he limits ...
