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Mar 24, 2021 · It has been argued that the ability of music to evoke emotions (Dowling & Harwood, 1986) is one of the main reasons why people engage with it (Juslin & Laukka, 2004) and its primary purpose (Cooke, 1959).
- Simon Schaerlaeken, Donald Glowinski, Didier Grandjean
- 2021
Jan 1, 1998 · A recent discussion on the smt-list focused on Nicholas Cook's claim in Music, Imagination, and Culture that musical analysis is essentially metaphorical. This essay investigates this claim ...
Mar 24, 2021 · In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors.
- Simon Schaerlaeken, Donald Glowinski, Didier Grandjean
- 2021
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.
- Lawrence M. Zbikowski
- 2008
Dec 1, 2014 · Metaphor has been used to describe and domain of music (e.g., Antović, 2014; Louth 2013;Saslaw, 1996). Taking them as a point of departure, this paper focuses on synesthetic metaphors, i.e ...
- Mihailo Antovic
Metaphor and Musical Thought. On the one hand, Spitzer draws on work in cognitive science and cognitive musicology to frame his argu-ment and the theory of metaphor he aims to put forward; on the other hand, he ultimately rejects this work, concentrating instead on the theory of metaphor developed by Paul Ricoeur in . The Rule of Meta-phor
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May 31, 2022 · The present paper uses the cognitive-linguistic theories of conceptual metaphor and conceptual blending and the author’s proposal for a “multilevel-grounded semantics” to suggest that the form/content dichotomy in music is in fact a matter of degree.
