Metaphors for Musical Motion—Beyond Time Is Motion

Julich, Nina

doi:10.1007/978-3-319-91277-6_8

Cited by 5 publications

(2 citation statements)

References 21 publications

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“…The metaphors used in language to talk about music have proven a rich area of research, at least since Fónagy (1963). The metaphors often spatialize sound and render sonic changes in terms of movement (Pérez-Sobrino & Julich, 2014); but, as the examples above indicate, they extend even beyond that, and include qualities from other sensory domains (like taste and smell) as well as animate/human qualities (e.g., relating to strength or sensuality) (Julich, 2018). Even beyond the possible framing of musical notions on the linguistic level, spatial axes, degrees of tension, emotionally qualitative, and spatial and structural aspects that characterize sound can also be executed by the body.…”

Section: Solo Dance Practice From Sound To Actionmentioning

confidence: 99%

Researching embodied metaphor production through improvisational dance practice

Cienki

O'Connor

2022

Metaphor in Language, Cognition, and Communication

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Section: Solo Dance Practice From Sound To Actionmentioning

confidence: 99%

Researching embodied metaphor production through improvisational dance practice

Cienki

O'Connor

2022

Metaphor in Language, Cognition, and Communication

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Section: Solo Dance Practice: From Sound To Actionmentioning

confidence: 99%

Embodied Lines

O'Connor

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Three major components of our experience are our mind, our body, and our environment. This practice-based research investigates a new way of looking at these three categories through dance and movement practices in order to find a common language between them. The study of lines offers that link. Our body creates lines. It creates lines when moving by leaving temporary traces, as when we dance or swing our limbs. Our mind creates lines when we imagine events along a timeline or when delineating conceptual borders, like between nature and nurture. Our body also visually and sensually perceives lines in our environment, organizing the world around us in straight and organic lines. Through our body, lines become a fundamental part of our experience. In this research, lines are the topic, the research method, and the data. This in itself is a complex and hypnotizing land- scape to ponder. Besides contributing to the new field of Linealogy, this research is carving out its own territory by defining the term Embodied Lines as a specific way to approach the topic of lines. Each chapter presents theoretical insights combined with artistic artifacts of embodied knowledge. Main theories approached around the topic of lines include: Conceptual Metaphor Theory (Lakoff & Johnson), Affordance Theory (Gibson), Asymmetry Principle (Leyton), Material Engagement Theory (Malafouris), Linear Design and Linear Pattern (Sheets-Johnstone), and Vitality Affects (Stern). In turn, lines are proposed as a way to think of and create situated moments that bring awareness to withness knowledge, a term proposed by John Shotter.

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Moving Figures and Grounds in music description

Wadley,

Tenbrink,

Wallington

2024

Cognitive Linguistics

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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.

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Metaphors for Musical Motion—Beyond Time Is Motion

Cited by 5 publications

References 21 publications

Researching embodied metaphor production through improvisational dance practice

Researching embodied metaphor production through improvisational dance practice

Embodied Lines

Moving Figures and Grounds in music description

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