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This led to the creation of the Geneva Musical Metaphors Scale (GEMMES), which consists of five subscales that can be linked to the most commonly used or relevant fami-lies of musical metaphors: “Flow,” “Force,” “Interior,” “Movement,” and “Wandering.”. Another type of meaning extracted from music is centered around emotions ...
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
The focus in this chapter is on work that has contributed directly to discussions about metaphor and music and on theoretical frameworks for understanding how the domain of music correlates with other conceptual domains, including that of language. Most of this work dates from the past 50 years, and encompasses a range of disciplines, including philosophy, semiotics, cognitive science, and the ...
- Lawrence M. Zbikowski
- 2008
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.
Jan 1, 1998 · This essay investigates this claim through a review of recent work on metaphor by cognitive scientists. This work both supports and modifies Cook's original claim. The latter portion of the essay ...
Dec 1, 2014 · conceptualizing music, and then that theoretical approaches such as conceptual metaphor theory may provide us with a good framework for describing the problem of “musical meaning”.
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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”.
