Describing Music by Using Metaphors and Categorization
Describing Music by Using Metaphors and Categorization

Author: T. Schlipfinger

Publisher: GRIN Verlag

Published: 2012-05-14

Total Pages: 17

ISBN-13: 3656189919

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Seminar paper from the year 2010 in the subject Speech Science / Linguistics, grade: 1, University of Innsbruck (Anglistik), course: Linguistics, language: English, abstract: In the following paper, I am going to talk about how music is described out of a linguistic point of view. I am going to show how and which metaphors are used and how categorization works. Right at the beginning I have to mention that I am more into modern music, in particu-lar the Rock genre, therefore the majority of examples in this paper will come from this one. However, when reading it, one should always bare in mind that all the theories mentioned below can be applied to any kind of music.

Music Semiotics: A Network of Significations
Music Semiotics: A Network of Significations

Author: Esti Sheinberg

Publisher: Routledge

Published: 2017-07-05

Total Pages: 369

ISBN-13: 135155719X

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United in their indebtedness to the scholarship of Raymond Monelle, an international group of contributors, including leading authorities on music and culture, come together in this state of the art volume to investigate different ways in which music signifies. Music semiotics asks what music signifies as well as how the signification process takes place. Looking at the nature of musical texts and music's narrativity, a number of the essays in this collection delve into the relationship between music and philosophy, literature, poetry, folk traditions and the theatre, with opera a genre that particularly lends itself to this mode of investigation. Other contributions look at theories of musical markedness, metaphor and irony, using examples and specific musical texts to serve as case studies to validate their theoretical approaches. Musical works discussed include those by Haydn, Mozart, Beethoven, Schumann, Wagner, Stravinsky, Bart?Xenakis, Kutavicius and John Adams, offering stimulating discussions of music that attest to its beauty as much as to its intellectual challenge. Taking Monelle's writing as a model, the contributions adhere to a method of logical argumentation presented in a civilized and respectful way, even - and particularly - when controversial issues are at stake, keeping in mind that contemplating the significance of music is a way to contemplate life itself.

Mapping English Metaphor Through Time
Mapping English Metaphor Through Time

Author: Wendy Anderson

Publisher: Oxford University Press

Published: 2016-08-18

Total Pages: 352

ISBN-13: 0191062022

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This volume offers an empirical and diachronic investigation of the foundations and nature of metaphor in English. Metaphor is one of the hot topics in present-day linguistics, with a huge range of research focusing on the systematic connections between different concepts such as heat and anger (fuming, inflamed), sight and understanding (clear, see), or bodies and landscape (hill-foot, river-mouth). Until recently, the lack of a comprehensive data source made it difficult to obtain an overview of this phenomenon in any language, but this changed with the completion in 2009 of The Historical Thesaurus of English, the only historical thesaurus ever produced for any language. Chapters in this volume use this unique resource as a basis for case studies of semantic domains including Animals, Colour, Death, Fear, Food, Reading, and Theft, providing a significant step forward in the data-driven understanding of metaphor.

Conceptualizing Music
Conceptualizing Music

Author: Lawrence M. Zbikowski

Publisher: Oxford University Press

Published: 2002-11-14

Total Pages: 377

ISBN-13: 019803217X

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This book shows how recent work in cognitive science, especially that developed by cognitive linguists and cognitive psychologists, can be used to explain how we understand music. The book focuses on three cognitive processes--categorization, cross-domain mapping, and the use of conceptual models--and explores the part these play in theories of musical organization. The first part of the book provides a detailed overview of the relevant work in cognitive science, framed around specific musical examples. The second part brings this perspective to bear on a number of issues with which music scholarship has often been occupied, including the emergence of musical syntax and its relationship to musical semiosis, the problem of musical ontology, the relationship between words and music in songs, and conceptions of musical form and musical hierarchy. The book will be of interest to music theorists, musicologists, and ethnomusicologists, as well as those with a professional or avocational interest in the application of work in cognitive science to humanistic principles.

Metaphor and Musical Thought
Metaphor and Musical Thought

Author: Michael Spitzer

Publisher: University of Chicago Press

Published: 2004

Total Pages: 392

ISBN-13: 0226769720

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"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music—the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.

Foundations of Musical Grammar
Foundations of Musical Grammar

Author: Lawrence Michael Zbikowski

Publisher: Oxford University Press

Published: 2017

Total Pages: 273

ISBN-13: 0190653639

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How is it that humans are able to organize seemingly random sounds into the captivating sonic structures we call music? In this volume, Lawrence M. Zbikowski argues that humans' unique ability to correlate sounds with dynamic processes provides the basis for the construction of meaningful musical utterances - that is, a foundation for musical grammar. Building on a framework for grammar developed by cognitive linguists over the past three decades and the pathbreaking research set out in his earlier book, Conceptualizing Music (OUP 2002), Zbikowski explains how the ability to draw analogies between widely differing domains allowing humans to connect sequences of musical sounds with emotion processes, physical gestures, and the steps of dance. He shows how these connections underpin an evocative movement from a cantata by J.S. Bach, guide our understanding of gestural choreographies by Fred Astaire and Charlie Chaplin, and frame connections between movement and music in French courtly dance and the Viennese waltz. Through thorough surveys of research in cognitive science and careful analyses of works by composers ranging from Bach, Brahms, and Schubert to Jerome Kern, Zbikowski explores the unique resources for communication offered by music and examines how these differ from those of language. Foundations of Musical Grammar is sure to be an instant - and enticingly controversial - classic within the evolving literature addressing the many complex intersections of music and language. -- from dust jacket.

Constructing a Personal Orientation to Music Teaching
Constructing a Personal Orientation to Music Teaching

Author: Mark Robin Campbell

Publisher: Routledge

Published: 2010-09-13

Total Pages: 206

ISBN-13: 1136950850

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Constructing a Personal Orientation to Music Teaching promotes inquiry and reflection to facilitate teacher growth, lifelong learning and a disposition toward educational change. Strongly grounded in current theories and research in teacher education, the text engages readers in analyzing their own experiences in order to conceptualize the complexity of teaching; involves them in clarifying their reasons for seeking a career in teaching; supports their insights, questions, and reflections about their work; and promotes a reflective, critical attitude about schools in general as teachers are urged to think of themselves as change agents in school settings.

Motion Metaphors in Music Criticism
Motion Metaphors in Music Criticism

Author: Nina Julich-Warpakowski

Publisher: John Benjamins Publishing Company

Published: 2022-11-15

Total Pages: 263

ISBN-13: 9027256942

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The book explores (1) the motivation of motion expressions in Western classical music criticism in terms of conceptual metaphors (Lakoff & Johnson, 1980, 1999) in two corpus studies, and (2) their perceived degree of metaphoricity among musicians and non-musicians in a rating study. The results show that while fundamental embodied conceptual metaphors like TIME IS MOTION certainly play a part in explaining why we speak of Western classical music as motion, it is the specific communicative setting of music criticism that determines the particular use of motion metaphors. Furthermore, the perceived metaphoricity of musical motion metaphors varies with participants’ musical background: musicians perceive musical motion expressions as more literal compared to non-musicians, showing that there are individual differences in the perception of metaphoricity.

Metaphor and Musical Thought
Metaphor and Musical Thought

Author: Michael Spitzer

Publisher: University of Chicago Press

Published: 2015-12-21

Total Pages: 393

ISBN-13: 022627943X

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"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music—the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.

Hack the Experience
Hack the Experience

Author: Ryan Dewey

Publisher: punctum books

Published: 2018-09-04

Total Pages: 166

ISBN-13: 1947447653

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"This is a book for artists, but it is also for curators, art school faculty, landscape architects, gallerists, archivists, post-disciplinary multi-hyphenates, museum program staff, and anyone who wants to know about the ways art and congnitive science come together to engage an audience."--Cover