Metaphor in Music

Krantz, Steven C.

doi:10.2307/431325

Cited by 3 publications

(3 citation statements)

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“…Overall, one could see these scales as specific to a single population and a single musical genre. Although we agree that these scales should probably not be extrapolated to populations such as the Kpelle and Jabo tribes in Liberia or genres such as hardcore or metal, we argue that conceptual metaphors are associated with high interindividual variability and are culture dependent (Krantz, 1987). Such a model encompassing all populations and genres of music might unfortunately be too difficult to ever be computed.…”

Section: Limitationsmentioning

confidence: 76%

“…It is important to note that the perception of musical structures in terms of conceptual metaphors requires imagination from listeners, is associated with high interindividual variability, and is culture-dependent (Krantz, 1987). The perception and conceptualization of pitch across the world is a perfect example of the influence of culture context on metaphors.…”

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confidence: 99%

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“Hearing music as . . .”: Metaphors evoked by the sound of classical music.

Schaerlaeken

Glowinski

Rappaz³

et al. 2019

Psychomusicology: Music, Mind, and Brain

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Can we modify our experience of music by "hearing it as . . ."? It is thought that musical meaning partly arises through the use of cross-domain mappings, or metaphors. These metaphors allow the listener to conceptualize music differently, explaining one domain in terms of another, regardless of musical expertise. The aim of the present line of experiments was to produce a dimensional model of the different metaphors used in Western classical music for a population of musicians and nonmusicians. With a large pool of 540 participants and 3 successive studies based on participants' own musical experiences (Study 1) and on musical excerpts (Studies 2 and 3), we reduced an extensive list of metaphors collected at concerts to 5 final categories. The experimental setup was based on a combination of exploratory and confirmatory factor analyses to first extract a preliminary model of 5 factors and subsequently to confirm this model with a large number of participants. The resulting Geneva Musical Metaphors Scale comprises 5 metaphorical scales: Flow, Movement, Force, Interior, and Wandering. This model provides insight into how musicians and nonmusicians approach the use of metaphors when listening to Western classical music. This model might provide scientific grounds for music educators, musicians, and guided imagery and music practitioners to improve communication and teaching. It also creates a new way to label musical excerpts and classify them. Finally, this research offers a basis for investigating the understudied role of metaphors and visual imagery in classical music.

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Section: Limitationsmentioning

confidence: 76%

mentioning

confidence: 99%

“Hearing music as . . .”: Metaphors evoked by the sound of classical music.

Schaerlaeken

Glowinski

Rappaz³

et al. 2019

Psychomusicology: Music, Mind, and Brain

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show abstract

“…On the other hand, the interpretation of musical structure in terms of CM (e.g. time, space, motion) requires imagination on the part of the listener, its meaning being dependent upon the cultural context (Krantz, 1987) (e.g. the understanding of pitch in terms of height is typically found in Western thought, but not necessarily in Eastern music discourse).…”

Section: Metaphor and Emotion In Musicmentioning

confidence: 99%

Metaphor and music emotion: Ancient views and future directions

Pannese

Rappaz

Grandjean

2016

Consciousness and Cognition

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a b s t r a c tMusic is often described in terms of emotion. This notion is supported by empirical evidence showing that engaging with music is associated with subjective feelings, and with objectively measurable responses at the behavioural, physiological, and neural level. Some accounts, however, reject the idea that music may directly induce emotions. For example, the 'paradox of negative emotion', whereby music described in negative terms is experienced as enjoyable, suggests that music might move the listener through indirect mechanisms in which the emotional experience elicited by music does not always coincide with the emotional label attributed to it.Here we discuss the role of metaphor as a potential mediator in these mechanisms. Drawing on musicological, philosophical, and neuroscientific literature, we suggest that metaphor acts at key stages along and between physical, biological, cognitive, and contextual processes, and propose a model of music experience in which metaphor mediates between language, emotion, and aesthetic response.

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Metaphor and music

Zbikowski

2008

The Cambridge Handbook of Metaphor and Thought

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Metaphor in Music

Cited by 3 publications

References 0 publications

“Hearing music as . . .”: Metaphors evoked by the sound of classical music.

“Hearing music as . . .”: Metaphors evoked by the sound of classical music.

Metaphor and music emotion: Ancient views and future directions

Metaphor and music

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