Metaphor and music

Zbikowski, Lawrence M.

doi:10.1017/cbo9780511816802.030

Cited by 76 publications

(37 citation statements)

References 45 publications

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“…Return to text 9. For a list of publications on music and metaphor see the bibliography of Zbikowski 2008. Return to text 10. Chisholm (1976, 49-50) suggests that "I am appeared to redly" is the proper interpretation of "I am aware of a red appearance," since the former sentence, unlike the latter, does not commit one to the existence of spooky, non-empirical entities such as appearances.…”

Section: Challengesmentioning

confidence: 99%

“…(7) [4] The subsequent generation of music theorists chafed at Babbitt's insistence on disciplining language. Unwilling to indiscriminately disown and demonize non-literal or "incorrigible" music talk, (8) several thinkers (e.g., Guck [2006], Maus [1988], Cook [1992], Zbikowski [2008], to name some of the most prominent) (9) came to the defense of poetic, narrative, fictional, and especially metaphorical speech as applied to music. The usual maneuver of Babbitt's opponents, if I may paint them with the same brush, is to argue that such loose talk is not so loose.…”

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confidence: 99%

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Fraught with Ought

Parkhurst

B??R??²,

Notice³

et al. 2013

MTO

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[1] Music theorists have been thinking for a while about the meaning, and meaningfulness, of the words people use to talk about music. Although Babbitt didn't begin the trend, (1) the way he framed the problem-polemically, with conspicuous musical erudition, and with the same philosophical self-assurance and sense of mission he found in the writings of neo-pragmatists like Quine and logical empiricists like Hempel-seemed especially urgent during an era when music theory was seeking to establish itself as "a research discipline, the scope of which would encompass all music and whose natural home would therefore be the university" (Peles 2012, 23).[2] Philosophy begins, one could impressionistically say, with Plato denying the rhapsodes admittance to an ideal polis on the grounds that their art is not "an undertaking that is serious or that has contact with the truth" (Plato 2004, 608a7-8). For its part, modern music theory begins similarly, with Babbitt excluding "unscientific" (2) musical discourse and its discussants from an ideal music department. (3) Although there are suggestive parallels between these inaugural exclusionary gestures, the analogy shouldn't be carried too far: Babbitt, after all, was a not a Platonist but a committed positivist. (4) In several seminal articles from the 1960s he articulated a music-theoretical program rooted in the Vienna Circle's familiar demands for falsifiability and public verifiability of theoretical statements. This passage, from "Past and Present Concepts of the Nature and Limits of Music," is representative:[T]here is but one kind of language, one kind of method for the verbal formulation of "concepts" and the ABSTRACT: In this paper I develop a theory about language and musical analysis. My project is to defend a thesis about the meaning of the linguistic building blocks of musical analyses, which I call "analytical utterances." The theory applies meta-ethical expressivism to the domain of musical aesthetics. I try to understand analytical utterances as expressing attitudes of approval or endorsement, rather than as, in and of themselves, issuing statements of fact.

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Section: Challengesmentioning

confidence: 99%

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confidence: 99%

Fraught with Ought

Parkhurst

B??R??²,

Notice³

et al. 2013

MTO

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“…Agawu (1992) surveys and critiques more recent approaches. Zbikowski (2002) draws on the theory of "conceptual blending" to explain how we interpret the combination of music and text. Cone (1974; and Hoeckner (2001) develop a theory of musical and lyric personas in the Lied.…”

Section: Metric Analysis and The Metaphor Of Energymentioning

confidence: 99%

Metric Analysis and the Metaphor of Energy: A Way into Selected Songs by Wolf and Schoenberg

Malin¹

2008

Music Theory Spectrum

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“…A review of the studies of metaphor revealed that there are many studies that have used metaphors to determine pre-service teachers' perceptions of the concept of a teacher (Cerit, 2008;Gömleksiz, 2013;Günay, 2015;Kasoutas & Katerina, 2009;Saban, Koçbeker, & Saban, 2006;Zheng & Song, 2010), their perceptions of the concept of a student (Guerrero & Villamil, 2002;Saban, 2009), the occupational perceptions of teachers and pre-service teachers (Martinez, Sauleda, & Huber, 2001;McEwan, 2007;Saban, 2009), perceptions of the internet (Palmquist, 1996;Şahin & Baturay, 2013), perceptions of the concept of a principal (Ateş, 2016;Çobanoğlu & Gökalp, 2015;Zembat, Tençeli, & Akşin, 2015); perceptions of the concept of distance education (Özçınar & Tuncay, 2009) and perceptions of educational programs (Aykaç & Çelik, 2011;Gültekin, 2013). Studies of music have used metaphors to analyze music as a communication tool with the metaphorical language in musical pieces (Zangwill, 2014;Zbikowski, 2008), examined metaphor as an instructional tool in the creation and improvement of musical expression (Schippers, 2006;Woody, 2004) and determined perceptions of the concepts of music and music lessons (Umuzdaş S. & Umuzdaş M., 2013).…”

Section: Introductionmentioning

confidence: 99%