List of figures
Figure 1.1High and low pitch frequencies
8
Figure 1.2Downward melodic motion
8
Figure 1.3Circle of fifths
9
Figure 1.4The returning of the main motif in Beethoven’s 5th Symphony
10
Figure 1.5The plot of classical sonata form
11
Figure 1.6Motivic hierarchy: Leading and accompanying voices
11
Figure 3.1The Moving Time and the Moving Observer metaphor
62
Figure 3.2The sequence is relative position on a path metaphor
63
Figure 3.3The situation is a mover metaphor
65
Figure 3.4The change is motion metaphor
68
Figure 3.5The actions are self-propelled movements metaphor
69
Figure 3.6The purposes are destinations metaphor
3
Figure 3.7The Moving Music and the Moving Ego metaphor for music
73
Figure 3.8The interior and exterior perspective of musical motion
74
Figure 6.1Musical motion uses with respect to verb type
152
Figure 6.2The distribution of verb type across register for musical motion uses
152
Figure 6.3Deictic uses of musical motion instances
153
Figure 6.4Deictic uses of musical motion instances across verb type
154
Figure 6.5Deictic uses of musical motion with respect to individual verb lemmas
156
Figure 7.1Effect of
condition and
music.edu on the literalness ratings
188
Figure 7.2Effect of
condition and
frequency on the literalness ratings
190
Figure 7.3Effect of
condition and
music.edu on the actual motion ratings
196
Figure 7.4Literalness ratings versus actual motion ratings
197