Table of contents
AcknowledgementsIX
List of tablesXI
List of figuresXIII
Chapter 1.Introduction: Western classical music and metaphor1
1.1The phenomenon: Musical motion2
1.2Analysing metaphor empirically: Methodological approach and data12
1.2.1A corpus-linguistic approach to metaphor15
1.2.2Exploring the perceived degree of metaphoricity in a complementary rating study17
1.3Outline18
Chapter 2.The language of music criticism21
2.1Motion metaphors in music criticism28
2.2Music and time32
2.3The experiential basis of musical motion37
Chapter 3.The conceptual motivation of musical motion41
3.1The Cognitive Linguistics paradigm41
3.2Metaphor as a matter of thought: Conceptual Metaphor Theory50
3.2.1The time is motion Conceptual Metaphor60
3.2.2The Event Structure Metaphor67
3.3Conceptual Metaphor Theory approaches to musical motion70
3.4An alternative explanation: Fictive motion78
Chapter 4.Metaphoricity as a gradable phenomenon89
4.1Dimensions of metaphoricity90
4.2Metaphoricity and specialist discourse95
Chapter 5.Metaphors in music criticism99
5.1Metaphorical expressions in the music criticism sample100
5.1.1Identification of metaphorical expressions with MIPVU101
5.1.2Results104
5.1.3Discussion107
5.2Conceptual patters in the music criticism sample110
5.2.1Identification of source domains110
5.2.2Results114
5.2.3Discussion115
5.3Motion expressions and their potential conceptual metaphor basis118
5.3.1Conceptual metaphor analysis118
5.3.2Results121
5.3.3Discussion122
5.4Conclusion132
Chapter 6.Key motion verbs in Western classical music criticism135
6.1Introduction135
6.2Motion verbs in time is motion instantiations137
6.3Analysis of key motion verbs in music criticism141
6.3.1Method: Keyword analysis141
6.3.2Results145
6.3.3Discussion147
6.4Concordance analysis of selected motion verbs149
6.4.1Method and analysis149
6.4.2Results151
6.4.3Discussion154
6.5General discussion156
6.5.1Path-manner-verb asymmetry156
6.5.2The time is motion basis of musical motion revisited160
6.6Conclusion165
Chapter 7.The metaphoricity of musical motion expressions167
7.1Introduction167
7.2The potential lack of metaphoricity of musical motion167
7.3Method: Measuring metaphoricity172
7.3.1Experimental design173
7.3.2Participants179
7.3.3Statistical analysis181
7.4Results185
7.4.1Literalness ratings185
7.4.2Actual motion ratings192
7.5Discussion199
7.6Conclusion203
Chapter 8.Final discussion and conclusions205
8.1Summary205
8.2The motivation for motion expressions in music criticism209
8.3Implications for Conceptual Metaphor Theory214
8.4Methodological considerations220
8.5Areas for further research222
8.6Conclusion228
References231
Index245
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