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Conceptualizing MusicCognitive Structure, Theory, and Analysis$
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Lawrence M. Zbikowski

Print publication date: 2002

Print ISBN-13: 9780195140231

Published to Oxford Scholarship Online: May 2008

DOI: 10.1093/acprof:oso/9780195140231.001.0001

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CROSS‐DOMAIN MAPPING

CROSS‐DOMAIN MAPPING

Chapter:
(p.63) CHAPTER TWO CROSS‐DOMAIN MAPPING
Source:
Conceptualizing Music
Author(s):

Lawrence M. Zbikowski

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195140231.003.0003

This chapter examines the process of cross-domain mapping, beginning with the work of cognitive linguists who, in the 1980s, proposed that metaphor was a basic structure of understanding. This proposal gained added weight when it was shown that metaphorical projection (which is one way to accomplish cross-domain mappings) was a general process not restricted to linguistic expressions but grounded in embodied experience. One example of cross-domain mapping that involves music in a rather immediate way is the technique of text painting, a compositional device that aims to represent in music specific images summoned by the text of a vocal work. Text painting provides a point of departure for the exploration of how cross-domain mapping is manifested in our understanding of music, as it leads to an extension of cross-domain mapping called conceptual blending. In a conceptual blend, elements from two correlated domains are projected into a third, giving rise to a rich set of possibilities for the imagination. It is shown that text painting can lead to such blends, as can program music.

Keywords:   cognitive linguists, metaphorical projection, text painting, image schema, invariance principle

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