Article published in:
Metaphor and Communication
Edited by Elisabetta Gola and Francesca Ervas
[Metaphor in Language, Cognition, and Communication 5] 2016
► pp. 265284
References

References

Adams, S.
(1983) R. Murray Schafer. Toronto: University of Toronto Press.Google Scholar
Adlington, R.
(2003) Moving beyond motion. Metaphors for changing sound. Journal of the Royal Musical Association, 128, 297–318. CrossrefGoogle Scholar
Baillet, J.
(2000) Gérard Grisey, Fondements d’une écriture. Paris: Harmattan.Google Scholar
Beard, D., & Gloag, K.
(2005) Musicology. The key concepts. London: Routledge.Google Scholar
Bregman, A.S.
(1990) Auditory scene analysis. The perceptual organization of sound, Cambridge, MA: The MIT Press.Google Scholar
Burkholder, J.P.
(1991) Musical time and continuity as a reflection of the historical situation of modern composers. The Journal of Musicology, 9, 412–429. CrossrefGoogle Scholar
Chion, M.
(1983) Guide des objets sonores, Pierre Schaeffer et la recherche musicale. Paris: Buchet/Chastel.Google Scholar
Chion, M., & Vidal, J.
(1970) Lexique du Traité des objets musicaux, Programme Bulletin GRM 9.Google Scholar
Cook, N.
(1998) Analysing Musical Multimedia. Oxford: Oxford University Press.Google Scholar
Dufourt, H.
(2004) Gérard Grisey: La fonction constituante du temps. Musicae Scientiae Discussion Forum, 3, 47–69. CrossrefGoogle Scholar
Eitan, Z., & Timmers, R.
(2010) Beethoven’s last Piano Sonata and those who follow crocodiles. Cross-domain mappings of auditory pitch in a musical context. Cognition, 114, 405–422. CrossrefGoogle Scholar
Grisey, G.
(2000) Did you say spectral? Contemporary Music Review, 3, 1–3. CrossrefGoogle Scholar
(1987) Tempus ex machina: A composer’s reflections on musical time. Contemporary Music Review, 1, 239–275. CrossrefGoogle Scholar
Hamilton, A.
(2003) The primer: Spectral composition. The Wire, 237, 42–48.Google Scholar
Handel, S.
(1989) Listening: An introduction to the perception of auditory events. Cambridge, MA: The MIT Press.Google Scholar
Haselböck, L.
(2009) Gérard Grisey. Unhörbares hörbar machen, Freiburg-Berlin-Wien: Rombach.Google Scholar
Johnson, M., & Larson, S.
(2003) “Something in the way she moves” – Metaphors of musical motion. Metaphor and Symbol, 18, 63–84. CrossrefGoogle Scholar
Kovëcses, Z.
(2002) Metaphor. A practical iIntroduction. Oxford: Oxford University Press.Google Scholar
Lakoff, G., & Johnson, M.
(1999) Philosophy in the flesh. The embodied mind and its challenge to Western thought. New York: Basic Books.Google Scholar
(2003) Metaphors we live by, Chicago: University of Chicago Press. CrossrefGoogle Scholar
Lakoff, G., & Turner, M.
(1989) More than cool reason. A field guide to poetic metaphor. Chicago: University of Chicago Press. CrossrefGoogle Scholar
Lerdahl, F., & Jackendoff, R.S.
(1983) A generative theory of tonal music. Cambridge, MA: The MIT Press.Google Scholar
Ligeti, G.
(2001) Wandlungen der musikalischen Form. In M. Lichtenfeld (Ed.), Gesammelte Schriften. Mainz-Berlin-London: Schott.Google Scholar
Mahrenholz, S.
(1998) Musik und Erkenntnis. Eine Studie im Ausgang von Nelson Goodmans Symboltheorie. Stuttgart: Verlag.Google Scholar
Manning, P.
(1987) Paris and musique concrète. In Electronic and Computer Music (pp. 19–38). Oxford: Oxford University Press.Google Scholar
McAdams, S., & Bigand, E.
(Eds.) (1993) Thinking in sound: The cognitive psychology of human audition. Oxford: Oxford University Press. CrossrefGoogle Scholar
Nattiez, J.J.
(1976) Le statut sémiologique de l'objet sonore. In M. Chion & J. Nattiez (Eds.), Le Traité des objets musicaux dix ans après (pp. 91–105). Paris: INA-GRM.Google Scholar
Palombini, C.
(1993) Machine songs V, Pierre Schaeffer – from research into noises to experimental music. Computer Music Journal, 3, 14–19. CrossrefGoogle Scholar
Risset, J.C.
(1991) Timbre et synthèse des sons. In J.B. Barrière (Ed.), Timbre, métaphore pour la composition (pp. 239–260). Paris: IRCAM/Christian Bourgois.Google Scholar
Risset, J.C., & Wessel, D.L.
(1982) Exploration of Timbre by Analysis and Synthesis. In D. Deutsch (Ed.), The psychology of music (pp. 25–58). San Diego: Academic Press. CrossrefGoogle Scholar
Rorty, R.
(1967) The linguistic turn. Essays in the philosophy of mind. Chicago: University of Chicago Press.Google Scholar
Schaeffer, P.
(1966) Traité des objets musicaux. Essai interdisciplines. Paris: Éditions du Seuil.Google Scholar
Schafer, R.M.
(1986a) Ear cleaning. In The thinking ear. Complete writings on music education (pp. 46–91). Toronto: Arcana Editions.Google Scholar
(1986b) The composer in the classroom. In The thinking ear. Complete writings on music education (pp. 3–45). Toronto: Arcana Editions.Google Scholar
(1986c) The new soundscape: A handbook for the modern music teacher. In The thinking ear. Complete writings on music education (pp. 93–169). Toronto: Arcana Editions.Google Scholar
(1986d) The Rhinoceros in the Classroom. In The thinking ear. Complete writings on music education (pp. 237–291). Toronto: Arcana Editions.Google Scholar
(1992) Music, Non-music and the soundscape. In J. Paynter, T. Howell, R. Orton, & P. Seymour (Eds.), Companion to Contemporary Musical Thought (pp. 34–45). London: Routledge.Google Scholar
(1994) The soundscape: Our sonic environment and the tuning of the world. Rochester: Destiny Books.Google Scholar
Schreiber, E.
(2012) Muzyka i metafora. Koncepcje kompozytorskie Pierre’a Schaeffera, Raymonda Murraya Schafera i Gérarda Griseya. [Music and metaphor. The compositional thought of Pierre Schaeffer, Raymond Murray Schafer and Gérard Grisey]. Warszawa: Narodowe Centrum Kultury.Google Scholar
(2013) The Value of a Living Sound. The Axiological Component of Gérard Grisey’s Organic Metaphor. In T. Malecka & M. Pawłowska (Eds.), Music: Function and value. Proceedings from the 11th international congress on musical signification (pp. 475–486). Kraków: Akademia Muzyczna w Krakowie and Musica Iagellonica.Google Scholar
(2014) “Silence Filled with Sound”: Spatial and Visual Metaphors in Raymond Murray Schafer’s Idea of Soundscape. In A. Benedek & K. Nyíri (Eds.), The power of the image. Emotion, expression, explanation (pp. 131–141). Frankfurt: Peter Lang.Google Scholar
Scruton, R.
(1999) The aesthetics of music. Oxford: Oxford University Press. CrossrefGoogle Scholar
Solie, R.A.
(1980) The living work. Organicism and musical analysis. 19th Century Music, 4, 147–156. CrossrefGoogle Scholar
Spampinato, F.
(2008) Les métamorphoses du son. Matérialité imaginative de l’écoute musicale. Paris: Harmattan.Google Scholar
Spitzer, M.
(2004) Metaphor and musical thought. Chicago: University of Chicago Press.Google Scholar
Tarasti, E.
(1994) A theory of musical semiotics. Bloomington: Indiana University Press.Google Scholar
Werner, H.U.
(1990) Soundscapes-Klanglandschaften: akustisch-ökologische Spurensuche nach interdisziplinären Kommunikatoransätzen zu “Umwelt als Klang” und “Klang als Umwelt”. PhD dissertation: Universität Gesamthochschule Kassel.Google Scholar
Wrightson, K.
(2000) An introduction to acoustic ecology. Soundscape. The Journal of Acoustic Ecology, 1, 10–13.Google Scholar
Xenakis, I.
(2001) Formalized music. Thought and mathematics in composition. Hillsdale: Pendragon Press.Google Scholar
Zbikowski, L.
(2002) Conceptualizing music. Cognitive structure, theory, and analysis. Oxford: Oxford University Press. CrossrefGoogle Scholar