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A COGNITIVE THEORY OF MUSICAL MEANING

A COGNITIVE THEORY OF MUSICAL MEANING musical pattern patterns stored in memory intra-opus patterns intra-domain mapping musical schemas Û Û Û cross-domain mapping image schemas bodily experience Figure 1. Musical pattern matching A central premise of the theory is that many tonal conventions are themselv grounded in bodily experience. That is, the image schemas that lend coherence to our bodily experience are metaphorically reflected in conventional patterns of melody, harmony, phrase structure, and form. The conventional mappings are the everyday metaphors of music—crossdomain mappings that are carried out easily and unconsciously by experienced listeners. Understanding how tonal convention reflects bodily experience can give us insight into the novel metaphorical meanings of a musical work, just as examining everyday linguistic metaphors can provide insight into the more complex metaphors of poetry (Lakoff and Turner 1989). Conventional cross-domain mappings—the everyday metaphors of tonal music—can be reprented in the form of music-metaphorical schemas. The schemas show in a general way how the various aspects of tonal organization are shaped by the image schemas that underlie them. The conjoining of musical and image-schematic structure in the schemas is reprented by double arrows in Figure 1. Each musical schema serv as a template upon which can be mapped the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

A COGNITIVE THEORY OF MUSICAL MEANING

Journal of Music Theory , Volume 44 (2) – Jan 1, 2000

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Publisher
Duke University Press
Copyright
Copyright 2000 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-44-2-323
Publisher site
See Article on Publisher Site

Abstract

musical pattern patterns stored in memory intra-opus patterns intra-domain mapping musical schemas Û Û Û cross-domain mapping image schemas bodily experience Figure 1. Musical pattern matching A central premise of the theory is that many tonal conventions are themselv grounded in bodily experience. That is, the image schemas that lend coherence to our bodily experience are metaphorically reflected in conventional patterns of melody, harmony, phrase structure, and form. The conventional mappings are the everyday metaphors of music—crossdomain mappings that are carried out easily and unconsciously by experienced listeners. Understanding how tonal convention reflects bodily experience can give us insight into the novel metaphorical meanings of a musical work, just as examining everyday linguistic metaphors can provide insight into the more complex metaphors of poetry (Lakoff and Turner 1989). Conventional cross-domain mappings—the everyday metaphors of tonal music—can be reprented in the form of music-metaphorical schemas. The schemas show in a general way how the various aspects of tonal organization are shaped by the image schemas that underlie them. The conjoining of musical and image-schematic structure in the schemas is reprented by double arrows in Figure 1. Each musical schema serv as a template upon which can be mapped the

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 2000

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