List of figures

Part of

Figure 1.1High and low pitch frequencies8

Figure 1.2Downward melodic motion8

Figure 1.3Circle of fifths9

Figure 1.4The returning of the main motif in Beethoven’s 5th Symphony10

Figure 1.5The plot of classical sonata form11

Figure 1.6Motivic hierarchy: Leading and accompanying voices11

Figure 3.1The Moving Time and the Moving Observer metaphor62

Figure 3.2The sequence is relative position on a path metaphor63

Figure 3.3The situation is a mover metaphor65

Figure 3.4The change is motion metaphor68

Figure 3.5The actions are self-propelled movements metaphor69

Figure 3.6The purposes are destinations metaphor3

Figure 3.7The Moving Music and the Moving Ego metaphor for music73

Figure 3.8The interior and exterior perspective of musical motion74

Figure 6.1Musical motion uses with respect to verb type152

Figure 6.2The distribution of verb type across register for musical motion uses152

Figure 6.3Deictic uses of musical motion instances153

Figure 6.4Deictic uses of musical motion instances across verb type154

Figure 6.5Deictic uses of musical motion with respect to individual verb lemmas156

Figure 7.1Effect of condition and music.edu on the literalness ratings188

Figure 7.2Effect of condition and frequency on the literalness ratings190

Figure 7.3Effect of condition and music.edu on the actual motion ratings196

Figure 7.4Literalness ratings versus actual motion ratings197