Relevant bibliographies by topics / Musical metaphors

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Musical metaphors'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Musical metaphors"

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Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.

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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other arts. Also, musical metaphors in Chinese aesthetics evidently work as guiding principles in individual art theories.
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Górska, Elżbieta. "LIFE IS MUSIC." English Text Construction 3, no. 2 (2010): 275–93. http://dx.doi.org/10.1075/etc.3.2.08gor.

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Following Blending Theory, this article analyses a novel metaphor LIFE IS MUSIC which formed a leitmotif of Daniel Barenboim’s BBC Reith Lectures of 2006. The main focus is on the means and techniques employed by Barenboim, and his use of “verbo-musical” metaphors in particular. Because it goes beyond verbo-pictorial modes of representation, the proposed study of verbo-musical metaphors in a dynamically evolving discourse constitutes a new contribution not only to studies of multimodal metaphor in actual language use, but also to debates on conceptual nature of metaphor, “(metaphorical) thinking for speaking”, and language and cognition.
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Adlington, Robert. "Moving Beyond Motion: Metaphors for Changing Sound." Journal of the Royal Musical Association 128, no. 2 (2003): 297–318. http://dx.doi.org/10.1093/jrma/128.2.297.

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This article argues that music offers experiences of change that are at odds with our common understanding of time. Specifically, I question the widespread belief that onward motion is a condition of musical temporality. I approach this issue through metaphor theory, which tends to argue for the necessity of metaphorical experiences of time and music in terms of motion. I argue that music's changing sound evokes a variety of bodily metaphors; motion is not ever-present, but intermingles with metaphors of heat, light, weight, tension and so on. Works by Ligeti, Carter, Kurtág and Saariaho are discussed as case studies.
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Budd, M. "Musical Movement and Aesthetic Metaphors." British Journal of Aesthetics 43, no. 3 (2003): 209–23. http://dx.doi.org/10.1093/bjaesthetics/43.3.209.

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Park, So‐Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (2019): 31–48. http://dx.doi.org/10.1111/1540-6253.12350.

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Mantere, Saku, John A. A. Sillince, and Virpi Hämäläinen. "Music as a metaphor for organizational change." Journal of Organizational Change Management 20, no. 3 (2007): 447–59. http://dx.doi.org/10.1108/09534810710740236.

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PurposeTo explore a musical metaphor in making organizational change a potentially pleasurable experience to participants.Design/methodology/approachThe paper begins by challenging ideological assumptions behind classical change metaphors. To build an alternative, the paper employs musical semiotics to understand the core dimensions in a musical experience.FindingsThe paper discusses the dynamics of tension and resolution in the different dimensions of musical experience.Originality/valueThe discussion regarding the dynamics of tension and resolution in musical experience helps the reader to make sense of how an individual organizational member can understand, structure and control the experience of organizational change.
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Dzienisiewicz, Maria. "Metafora synestezyjna w rosyjskich tekstach krytyki muzycznej." Acta Polono-Ruthenica 3, no. XXIII (2018): 31–44. http://dx.doi.org/10.31648/apr.2817.

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The paper presents a variety of synesthetic metaphors used by musical critics. The metaphors were retrieved from musical critical texts written in Russian, which described classical music events. The basis of division are human senses: hearing, touch, sight and taste. Metaphors are divided into two main groups: intermodal and singlemodal ones. The most representative type turned out to be synesthetic metaphors referring to the sense of touch.
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Ghumashyan, Varduhi. "The Impact of Metaphor on G.G. Byron’s Linguopoetic Thinking." Armenian Folia Anglistika 16, no. 1 (21) (2020): 90–97. http://dx.doi.org/10.46991/afa/2020.16.1.090.

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The issue touched upon in this article refers to the extraordinary use of innumerable metaphors in one of the greatest works by George Gordon Byron – Childe Harold’s Pilgrimage. Among literary devices it is especially metaphor that is peculiar to Byron’s linguopoetic thinking. The linguostylistic and linguopoetic methods of analysis help to bring out metaphor as an important device for Byron. Through metaphors he portrays his heroes, their feelings and thoughts and makes the reader feel his powerful flight of imagination. The author does not convince the reader to make the resulting points, but he makes him/her indirectly judge the heroes and understand situations. Thus, Byron’s metaphors are the result of his linguopoetic thinking. They give a certain charm and musical perception through plain words and word-combinations, and serve as a bridge between physics and poetics across temporal and spatial scale.
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Julich-Warpakowski, Nina. "Motion Expressions in Music Criticism." arbeitstitel | Forum für Leipziger Promovierende 8, no. 1 (2020): 34. http://dx.doi.org/10.36258/arbeitstitel.v8i1.3310.

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Music is commonly and conventionally described in terms of motion: melodies fall and rise, and motifs may follow a harmonic path. The thesis explores the motivation of musical motion expressions in terms of conceptual metaphors (Lakoff & Johnson 1999). Specifically, it analyses whether musical motion expressions are based on the time is motion metaphor (Johnson & Larson 2003, Cox 2016). Furthermore, the thesis investigates whether musical motion expressions are perceived as low in metaphoricity because of their conventionality in music criticism, and because of a more general association of music with motion, given that people often literally move when they make music and when they listen to music.
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Mead, Andrew. "Bodily Hearing: Physiological Metaphors and Musical Understanding." Journal of Music Theory 43, no. 1 (1999): 1. http://dx.doi.org/10.2307/3090688.

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Dissertations / Theses on the topic "Musical metaphors"

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Linsley, Dennis E. "Metaphors and Models: Paths to Meaning in Music." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12113.

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xv, 198 p. : music<br>Music has meaning. But what is the nature and source of meaning, what tools can we use to illuminate meaning in musical analysis, and how can we relate aspects of musical structure to our embodied experience? This dissertation provides some possible answers to these questions by examining the role that metaphors and models play in creating musical meaning. By applying Mark Johnson and Steve Larson's conceptual metaphors for musical motion, Larson's theory of musical forces, perspectives on musical gesture, and a wide variety of models in music analysis, I show how meaning is constructed in selected works by Bach and Schubert. My approach focuses on our experience of musical motion as a source of expressive meaning. The analysis of two gigue subjects by Bach shows how we create expressive meaning by mapping musical gestures onto physical gestures, and five detailed case studies from Schubert's Winterreise show how the same basic underlying pulse leads to different expressive meanings based on how that pulse maps onto walking motion. One thread that runs through this dissertation is that models play a significant role in creating meaning; this idea is central to my analysis of the prelude from Bach's fourth cello suite. Questions of meaning are not new to musical discourse; however, claims about meaning often lurk below the surface in many musical analyses. I aim to make the discussion of meaning explicit by laying bare the mechanisms by which meaning is enacted when we engage with music. The view of musical meaning adopted in this study is based on several complementary ideas about meaning in general: meaning is something our minds create, meaning is not fixed, meaning is synonymous with understanding, and meaning emerges from our embodied experience. Other scholars who address musical meaning (for example, Hatten and Larson) typically adopt a singular approach. Although I do not create a new theory of meaning, I employ numerous converging viewpoints. By using a multi-faceted approach, we are able to choose the best available tools to discuss aspects of our musical experience and relate the expressive meaning of that experience to details of musical structure.<br>Committee in charge: Stephen Rodgers, Chairperson; Jack Boss, Member; Lori Kruckenberg, Member; Steven Larson, Member; Mark Johnson, Outside Member
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Gargarian, Gregory Mark. "Composing after computers : the application of computational metaphors to musical thought." Thesis, Massachusetts Institute of Technology, 1987. http://hdl.handle.net/1721.1/73758.

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Alty, James L., and Dimitrios I. Rigas. "Exploring the use of structured musical stimuli to communicate simple diagrams: The role of context." Elsevier, 2004. http://hdl.handle.net/10454/4028.

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no<br>The results from previous experiments using structured musical stimuli to communicate coordinate locations within a graphical grid, navigation of an auditory cursor and simple shapes are used as a basis for further exploratory research to communicate diagrams. An experimental framework program (called AudioGraph) provided a platform for investigating musical information processing for blind users. Under this platform, simple arrangements of shapes (forming diagrams) were communicated to users using structured musical stimuli. Meaningfully arranged graphical shapes (at least for the visual sense) were communicated in the absence, and in the presence of a particular perceptual context or different perceptual contexts. The results indicated that perceptual context played an important role in the interpretation of the structured musical stimuli that communicated simple diagrams. The paper concludes with a discussion on the implications of the results, the role of context and the use of structured musical stimuli to communicate graphical information to visually impaired users.
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Åkerström, Johanna. "Translating Song Lyrics : A Study of the Translation of the Three Musicals by Benny Andersson and Björn Ulvaeus." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-4612.

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The primary aim of the present study is to gain an understanding of the translation process involved when translating song lyrics by investigating to what extent 10 translation features occur in a corpus of 12 song lyrics from the musicals CHESS, MAMMA MIA! and Kristina från Duvemåla. Comparing the source texts to the translated texts, taking into account: number of words, syllables vs. words, word-for-word translations, additions/omissions, metaphors, rhymes, reorganization of text, paraphrases and last if there were any untranslated English words kept in the Swedish version – led to the conclusion that the translation strategy of using paraphrases (express something written in other words) was the most common translation strategy used when translating song lyrics. In addition, translating song lyrics also requires a translator who is musical, has good association skills, a large vocabulary and is also very good at playing with words. Taking the findings into consideration it could be said that the word 'translation' should be avoided in reference to the act of transferring the song lyrics of a musical in one language into another language. More apt descriptive phrases for this process would probably be 'text arrangement' or 'interpretation'.
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Sarasúa, Berodia Álvaro. "Musical interaction based on the conductor metaphor." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/404675.

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Interface metaphors are often used in Human Computer Interaction (HCI) to exploit knowledge that users already have from other domains. A commonly used one in Digital Musical Instruments (DMIs) is the conductor metaphor. We theorize that part of the knowledge that users have from the domain that the interface metaphor replicates is user-specific. In this context, we argue that systems using an interface metaphor can see their usability improved by adapting to this user-specific knowledge. We propose strategies to design motion-sound mappings for DMIs that draw upon the conductor metaphor by adapting to personal nuances that can be automatically computed from spontaneous conducting movements. In addition to the above, we study the potential of the conductor metaphor in a gaming context as a mean to raise interest for classical music. These contributions are complemented by the data collected in all observational studies, which is made publicly available to the community<br>Las metáforas de interfaz se utilizan habitualmente en la interacción persona-ordenador para explotar el conocimiento que los usuarios tienen de otros dominios. Una comúnmente utilizada en instrumentos musicales digitales (DMIs) es la metáfora del director. Argumentamos que parte del conocimiento que los usuarios tienen del dominio que la metáfora replica es específico de cada usuario. En este contexto, proponemos que sistemas que hacen uso de metáforas de interfaz pueden mejorar su usabilidad adaptándose a este conocimiento específico. Implementamos estrategias para diseñar mapeos entre movimiento y sonido para DMIs basados en la metáfora del director, mediante la adaptación a matices personales que pueden ser automaticamente extraídos analizando movimientos de dirección espontáneos. Además, estudiamos el potencial de la metáfora del director en un contexto de juego, como medio para incrementar el interés por la música clásica. Estas contribuciones se complementan con los datos recopilados en los estudios observacionales, que se ponen a disposicion pública para la comunidad.
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Jacobs, Bryan. "Coloring regret: emotional prosody as a metaphor for musical composition." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=18765.

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Coloring Regret is a musical composition written for 21 musicians, one sound technician, and electronics. This essay is an analysis and description of the compositional tools and methods developed during the compositional process. The piece attempts to explore a relationship between emotional expression in the human voice and emotional expression in music. The inspiration for this work came from current research in emotional prosody which suggests that there are identifiable components to human speech that allow listeners to accurately interpret a speaker's emotional state. Audio files in which actors portray outbursts of emotional energy were analyzed and categorized, then later transcribed for acoustic instruments. An omni-present lament motive suggested a specific path through a previously developed harmonic “gravity” system. The final composition implies a journey from the “Vocal Sound Object World”- with a dramatic vocal, textural, and naturalistic electronic component – to the “Traditional Pitch and Rhythm-based World” dominated by clear rhythms, timbres, and pitches.<br>Coloring Regret est une composition musicale écrite pour 21 musiciens, un technicien du son et électronique. Cet essai est une analyse et description des outils et méthodes de composition développés pendant le processus compositionnel. La pièce tente d'explorer un rapport entre l'expression émotionnelle dans la voix humaine et l'expression émotionnelle en musique. Cette pièce à été inspirée par des recherches récentes en prosodie émotionnelle qui suggèrent que des composantes identifiables de la parole humaine permettent à un auditeur d'interpréter précisément l'état émotionnel d'un locuteur. Des fichiers audio dans lesquels des acteurs illustrent des débordements d'énergie émotionnelle ont été analysés et catégorisés, puis transcrits plus tard pour des instruments acoustiques. Un motif de lamentation omni-présent a suggéré un parcours spécifique à travers un système harmonique 'gravitationnel' développé auparavant. La composition finale implique un périple partant du -Monde des Objets Sonores Vocaux-, avec une composante électronique vocale, texturale et naturaliste dramatique, vers le -Monde Traditionnel du Rythme et des Hauteurs- dominé par des rythmes, timbres et hauteurs clairs.
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Tonkin, Christopher Tonkin Christopher Tonkin Christopher. "Compositional metaphors of space and perspective /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3266845.

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Thesis (Ph. D.)--University of California, San Diego, 2007.<br>Vita. Discusses the composer's use of the metaphors of space and perspective in his works, IN and Headspaces, the scores for which are included in the dissertation.
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Mumford, Richard N. "Understanding sorting algorithms using music and spatial distribution." Thesis, Loughborough University, 2002. https://dspace.lboro.ac.uk/2134/33626.

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This thesis is concerned with the communication of information using auditory techniques. In particular, a music-based interface has been used to communicate the operation of a number of sorting algorithms to users. This auditory interface has been further enhanced by the creation of an auditory scene including a sound wall, which enables the auditory interface to utilise music parameters in conjunction with 2D/3D spatial distribution to communicate the essential processes in the algorithms. The sound wall has been constructed from a grid of measurements using a human head to create a spatial distribution. The algorithm designer can therefore communicate events using pitch, rhythm and timbre and associate these with particular positions in space. A number of experiments have been carried out to investigate the usefulness of music and the sound wall in communicating information relevant to the algorithms. Further, user understanding of the six algorithms has been tested. In all experiments the effects of previous musical experience has been allowed for. The results show that users can utilise musical parameters in understanding algorithms and that in all cases improvements have been observed using the sound wall. Different user performance was observed with different algorithms and it is concluded that certain types of information lend themselves more readily to communication through auditory interfaces than others. As a result of the experimental analysis, recommendations are given on how to improve the sound wall and user understanding by improved choice of the musical mappings.
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Parsons, W. George. "Metaphor as a tool for theologically-informed musical analysis of Sir James MacMillan's Triduum." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/15760/.

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My PhD thesis is focussed on providing a thorough analysis of the three works of Sir James MacMillan's Triduum triptych: The World's Ransoming, the Cello Concerto, and the Symphony 'Vigil'. These works are theologically orientated, with extra-musical inspirations for the three pieces taken directly from the Roman Catholic Triduum liturgy in each case. The analyses therefore seek to investigate specifically how the theological ideas of the liturgy are portrayed symbolically, without text, in MacMillan's music. Preceding the chapters of analysis concerned with the three works themselves is introductory work that seeks to outline a rationale and methodology for proceeding with specifically theologically-orientated analysis in MacMillan's music, including relevant engagement with current debates within musicology as to the validity of including extra-musical material in organicist analysis. Central to this, drawing on the work of five separate scholars across philosophical, theological, and musicological disciplines, is an attempt to highlight the relevance and suitability of metaphor as a fruitful concept that allows for theological-musical analysis in MacMillan's Triduum.
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Brown, Jennifer R. "Monsters, of whom I am chief a metaphoric and generic criticism of Jars of Clay's concept video, Good Monsters /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.

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Books on the topic "Musical metaphors"

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Metaphors of depth in German musical thought: From E. T. A. Hoffmann to Arnold Schoenberg. Cambridge University Press, 2011.

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Metaphor and musical thought. University of Chicago Press, 2004.

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Musical forces: Motion, metaphor, and meaning in music. Indiana University Press, 2012.

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Bonds, Mark Evan. Wordless rhetoric: Musical form and the metaphor of the oration. Harvard University Press, 1991.

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The Rhine as musical metaphor: Cultural identity in German romantic music. Northeastern University Press, 1996.

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Vom Klang zur Metapher: Perspektiven der musikalischen Analyse. Olms, 2012.

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Form, program, and metaphor in the music of Berlioz. Cambridge University Press, 2009.

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Störel, Thomas. Metaphorik im Fach: Bildfelder in der musikwissenschaftlichen Kommunikation. G. Narr, 1997.

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Country: Living legends and dying metaphors in America's biggest music. Secker & Warburg, 1989.

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Country: Living legends and dying metaphors in America's biggest music. C. Scribner's Sons, 1985.

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Book chapters on the topic "Musical metaphors"

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Trivedi, Saam. "Metaphors and Musical Expressiveness." In New Waves in Aesthetics. Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230227453_3.

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Julich, Nina. "Metaphors for Musical Motion—Beyond Time Is Motion." In Studies in Applied Philosophy, Epistemology and Rational Ethics. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91277-6_8.

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Gundorina, Anastasia. "Metaphor as a Structural Principle of Modern Musical Notation." In Language, Music and Gesture: Informational Crossroads. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-3742-1_4.

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Pakhomov, Leonid, Elena Erofeeva, and Tatiana Petrova. "Metaphors in Vocal Training Discourse." In Language, Music and Gesture: Informational Crossroads. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-3742-1_9.

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Golub, Peter, and Katy Jarzebowski. "Mychael Danna: Music as Metaphor." In Contemporary Film Music. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-57375-9_13.

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Zbikowski, Lawrence M. "Music, Analogy, and Metaphor." In The Routledge Companion to Music Cognition. Routledge, 2017. http://dx.doi.org/10.4324/9781315194738-41.

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Guck, Marion A. "9. Two Types of Metaphoric Transference." In Music and Meaning, edited by Jenefer Robinson. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501729737-011.

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Battistini, Emiliano. "The Human-Animal Relationship and the Musical Metaphor in The Great Animal Orchestra by Bernie Krause." In Biosemiotics. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72992-3_15.

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Bevilacqua, Frédéric, Norbert Schnell, Jules Françoise, Éric O. Boyer, Diemo Schwarz, and Baptiste Caramiaux. "Designing Action–Sound Metaphors Using Motion Sensing and Descriptor-Based Synthesis of Recorded Sound Materials." In The Routledge Companion to Embodied Music Interaction. Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-43.

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Steen, Mark. "God et al.— World-Making as Collaborative Improvisation: New Metaphors for Open Theists." In Abrahamic Reflections on Randomness and Providence. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-75797-7_15.

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AbstractThe Abrahamic traditions regard God as the world’s author. But what kind of author? A novelist? A playwright? Perhaps a composer of classical music? I will argue that it is best to regard God as like an improvisational play director or the leader of a jazz ensemble. Each determines the broad melodic contours or coarse-grained plot beforehand, while allowing their musicians or actors, and chance, to fill in the more fine-grained details. This analogy allows us to regard God as the ultimate author of this world, while allowing us to be, while less than co-authors, more than mere enactors of a pre-written piece. These metaphors are particularly well-suited to illustrate and flesh out an Open Theistic view of things.
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Conference papers on the topic "Musical metaphors"

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Koskela, Oskari, and Kai Tuuri. "Investigating metaphors of musical involvement." In AM'18: Sound in Immersion and Emotion. ACM, 2018. http://dx.doi.org/10.1145/3243274.3243293.

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Wilkie, Katie, Simon Holland, and Paul Mulholland. "Evaluating Musical Software Using Conceptual Metaphors." In People and Computers XXIII Celebrating People and Technology. BCS Learning & Development, 2009. http://dx.doi.org/10.14236/ewic/hci2009.27.

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Schiavoni, Flávio Luiz, Adilson Siqueira, Rogério Tavares Constante, et al. "O Chaos das 5." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10457.

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“O Chaos das 5” is an audiovisual digital performance. The guideline of the performance is inspired by Alice, from Lewis Carroll book - Alice in the Wonderland, as a metaphor to take the audience to a synthetic and disruptive wonder world. The concept of the performance is to conceive the possibility to the audience to interact through digital interfaces creating an immersive and participatory experience by combining three important layers of information (music, projections and gestures) through their cellphones. Once that the audience members take part of the show on an immersive aspect, there is no stage or another mark to limit the space of the performers and the audience.
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Aliel, Luzilei, Rafael Fajiolli, and Ricardo Thomasi. "Tecnofagia: A Multimodal Rite." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10454.

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This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term ​ Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The ​ Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and phonemes; instrumental tones; soundscapes; historical, political and cultural contexts. In this sense, ​ Tecnofagia tries to go beyond techniques and technologies of interactive performance, as it provokes glances for a Brazilian art-technological miscegenation. That is, it seeks emergent characteristics of the encounters between media, art, spaces, culture, temporalities, objects, people and technologies, at the moment of performance.
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Kusnick, J., R. Khulusi, J. Focht, and S. Jänicke. "A Timeline Metaphor for Analyzing the Relationships between Musical Instruments and Musical Pieces." In 11th International Conference on Information Visualization Theory and Applications. SCITEPRESS - Science and Technology Publications, 2020. http://dx.doi.org/10.5220/0008990502400251.

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Santos da Rosa, Sandro. "MUSIC AS A METAPHOR OF LIFE." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-066.

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Dalla Chiara, M. L., R. Giuntini, and E. Negri. "Metaphors in Science and in Music. A Quantum Semantic Approach." In II International Workshop on Quantum Mechanics and Quantum Information. Physical, Philosophical and Logical Approaches. WORLD SCIENTIFIC, 2018. http://dx.doi.org/10.1142/9789813276895_0005.

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Kessentini, Marouane, Houari Sahraoui, Mounir Boukadoum, and Manuel Wimmer. "Design Defect Detection Rules Generation: A Music Metaphor." In 2011 15th European Conference on Software Maintenance and Reengineering (CSMR). IEEE, 2011. http://dx.doi.org/10.1109/csmr.2011.30.

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Zhao, Nan. "Cultural Metaphor and Characterization of Music in Zootopia." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.92.

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Wilkie, Katie, Simon Holland, and Paul Mulholland. "Eliciting Domain Knowledge Using Conceptual Metaphors to Inform Interaction Design: A Case Study from Music Interaction." In Proceedings of the 28th International BCS Human Computer Interaction Conference (HCI 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/hci2014.40.

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Reports on the topic "Musical metaphors"

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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.503395.

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Abstract:
As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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