This paper is a systematic investigation of motion expressions in programmatic music description. To address issues with defining the Source MOTION and the Target MUSIC, we utilize Gestalt models (Figure-Ground and Source-Path-Goal) while also critically examining the ontological complexity of the Target MUSIC. We also investigate music motion descriptions considering the role of the describer’s perspective and communicative goals. As previous research has demonstrated, an attentional Goal-bias is common in physical motion description, yet this has been found also to lessen (...) due to audience accommodation effects. We investigate whether this also occurs in music description. Using cognitive linguistic frameworks, we conducted an analysis of 21 English speakers’ written descriptions of dynamic orchestral excerpts. All participants gave a description of one excerpt reporting their own personal experiences and the other excerpt reporting the events of the excerpt for a fictional future participant. We find that addressee accommodation shapes the choice of the ontological types of Figures used from being more subjective and creative in describing music for oneself versus being more objective in describing music for others. However, our investigation does not find sufficient evidence for a Goal-bias in music like there is in physical motion event descriptions. (shrink)

Mark Johnson's new monograph pursues the research line of the earlier books he published, together with George Lakoff and on his own (Lakoff & Johnson, 1980, 1999; Johnson, 1987, 1993), but breaks...

This study tested to what extent young listeners metaphorically conceptualize basic musical relations. Ninety children aged 11 (30 attending a music school and 30 Serbian and 30 Romani children with no musical education) were played 5 stimuli with mutually opposed musical elements and asked to respond what the first and what the second one was like. Their answers were classified into metaphors according to the tenets of the conceptual metaphor theory. The results suggest an overwhelming dominance of metaphorical replies, in (...) which most mappings were based on image schemas within a predominantly visual–spatial modality. There were some differences in conceptualizations, however, with “high and low” tones also perceived as “big and small,” or “upward” musical motion seen as “forward.” This article analyzes the possibility of finding a common denominator for seemingly disparate replies, where the study of musical conceptualization might be instrumental in the cognitive semantic quest for metaphorical universals. (shrink)

The two event-related potentials studies investigated how verbs and nouns were processed in different music priming conditions in order to reveal whether the motion concept via embodiment can be stimulated and evoked across categories. Study 1 tested the processing of verbs primed by two music types, with tempo changes and without tempo changes while Study 2 tested the processing of nouns in the same priming condition as adopted in Study 1. During the experiments, participants were required to hear a piece (...) of music prior to judging whether an ensuing word is semantically congruent with the motion concept conveyed by the music. The results show that in the priming condition of music with tempo changes, state verbs and inanimate nouns elicited larger N400 amplitudes than action verbs and animate nouns, respectively in the anterior regions and anterior to central regions, whereas in the priming condition of music without tempo changes, action verbs elicited larger N400 amplitudes than state verbs and the two categories of nouns revealed no N400 difference, unexpectedly. The interactions between music and words were significant only in Tasks 1, 2, and 3. Taken together, the results demonstrate that firstly, music with tempo changes and music without tempo prime verbs and nouns in different fashions; secondly, action verbs and animate nouns are easier to process than state verbs and inanimate nouns when primed by music with tempo changes due to the shared motion concept across categories; thirdly, bodily experience differentiates between music and words in coding fashion but the motion concept conveyed by the two categories can be subtly extracted on the metaphorical basis, as indicated in the N400 component. Our studies reveal that music tempos can prime different word classes, favoring the notion that embodied motion concept exists across domains and adding evidence to the hypothesis that music and language share the neural mechanism of meaning processing. (shrink)

Pragmatists views, like those of John Dewey’s about music, emphasize the social nature of musical sensibility, instrumental expressions and adaptation to changing circumstances. Indeed, expectancy and violations of those expectations in music are tied to memory and human development. Cephalic (mind/brain/body) factors that underlie what we expect, and variation on the expected, inhere in musical experiences. Music is a piece of nature and is tied to movement and dance and rooted in social contact. Music of course serves many functions in (...) our lives. From the first sounds to some of the last, human well-being and music are ripe across the life cycle of human experience. (shrink)

The article focuses on meaning generation in music and language cognition based on complexes of image schemas. We hypothesize that schemas are involved in dynamic interactions fostering online complex conceptual construction found both in language and elsewhere in various cognitive code expressions. Expanding on recent work, we propose that an account of image-schema interaction should include the notion of scalarity, a higher-order parameter which captures the intensity with which schemas occur and/or interact with one another. In that sense, schemas are (...) proposed to have a binary valence (positive or negative) and a three-tier range of intensity levels. We focus on some examples of the interaction of force, path, link, balance, and containment image schemas in language and music to illustrate how a formal routine emerging from our proposal may help in addressing not only aspects of propositional semantics, but also affective and connotative nuances in musical and linguistic expression. (shrink)

Summary In this contribution, I discuss the perceptual potential of certain genres of experimental and contemporary music, commonly grouped under the label “sound-based music”. The sonic patterns typical of this music are mostly associated, during listening, with visual and tactile sensory qualities and can evoke mental representations as shapes in motion. These are the result of physical-acoustic energies organized according to a perceptual grammar whose organization follows a series of Gestalt and kinaesthetic principles. The paper explores the nature of the (...) relationship between sound patterns of sound-based music and their mental images. Based on morphodynamic theory, it is proposed the emergence of cognitive image schemas, which are at the centre of this relationship. The image schemas depict the forces and tensions of our experience of the world (e.g., figure-background, near-far, superimposition, compulsion, blockage), as being the cognitive and experiential response to the incoming sound patterns. The sense of this music activates precisely the basic structures of sensorimotor experience by which we encounter a world that we can understand and act within, leading to a rich series of high-level associations and responses. (shrink)

Music is often described in anthropomorphic terms. This paper suggests that if we think about music in certain ways we could think of it as conscious. Motional characteristics give music the impression of being alive, but musical motion is conventionally taken as metaphorical. The first part of this paper argues that metaphor may not be the exclusive means of understanding musical motion – there could also be literal ways. Discussing kinds of consciousness, particularly “access consciousness” (Block 1995), the second part (...) proposes ways in which music could (hypothetically) be conscious. The conclusion states that a greater understanding of the interactions of “phenomenal consciousness” and “access consciousness” is important in conceptualizing non-human consciousnesses, such as music might be conceived to be. (shrink)

Este proyecto de innovación tiene como objetivo subsanar las dificultades del alumnado del Grado en Historia y Ciencias de la Música para utilizar las herramientas de análisis musical. Está orientada a las competencias curriculares de la asignatura Música y pensamiento en el siglo de las luces (s. XVIII), que requiere un trabajo analítico del repertorio de música tonal Centroeuropea en conexión con las corrientes estilísticas y de pensamiento de la época. Se han desarrollado una serie de estrategias didácticas que conectan (...) la experiencia emocional del discente con la significación de los tópicos musicales según el principio de la topic theory. (shrink)

Conceptual Metaphor Theory (CMT) has been little used by archaeologists. A key barrier is that current metaphor analysis relies on linguistic evidence, a resource that archaeologists rarely have. Methods for interpreting entirely “material metaphors” have yet to develop. This article explores CMT in a domain of long-standing archaeological interest: settlement structure. Anthropologists have long recognized that hunter-gatherers place their dwellings close to those they are close to socially, usually their kin. Archaeologists have assumed the same holds true for prehistory—although without (...) direct evidence. This article explains why people consistently associate with their kin this way, and how the metaphor, “SOCIAL DISTANCE IS PHYSICAL DISTANCE,” structures hunter-gatherer campsites worldwide. Archaeologists can infer the existence of this metaphor in the archaeological record without linguistic support. Furthermore, they can assume it exists in all human societies for as long as human brains have been wired up as they currently are. (shrink)