Index

• abstract organisation is physical structure 55, 113, 116

• academic music(ology) journal 13, 22, 105, 107

• academic (music) analysis 22, 100, 107, 133, 159, 205–207

• academic component (of the music criticism corpus) 99, 108–109, 133

• academic music criticism 104, 133

• academic register 105–108, 151–153, 159, 205–207

• acculturation 6, 18, 95, 97, 170–172, 178, 199–200, 203, 208–209, 224

• actions are self-propelled movements 68–69, 77, 120, 123, 128–129, 161–163, 165–166, 168, 208, 210

• affection is warmth54

• argument is war 53, 55, 58

• BNC (British National Corpus) 15, 136, 140–147, 176–178, 182, 205–206, 208

• BNC-Baby 104–105, 107

• Career of Metaphor Theory 56, 220, 224

• change is motion 58, 67–68, 76–77, 119, 125

• CMT (Conceptual Metaphor Theory) 4, 6, 12, 15, 18, 20, 29, 38–39, 41, 49–53, 56–60, 70, 78, 81, 90, 93, 108, 113, 127, 137, 201–202, 205, 214–15, 217–219, 222, 228–229

• Cognitive Linguistics 1, 7, 18, 41–42, 44, 46, 50, 214, 229

• conceptual distance 18–19, 90–92, 94, 97, 167, 170–172, 174–175, 178, 182–183, 200–201, 203, 208, 224–225

• conceptual metaphor 4–6, 11–12, 14–16, 18–20, 38–39, 41, 48–60, 65–66, 70–71, 73, 76–79, 81–82, 84, 86, 90–92, 99, 109–112, 115–116, 118–124, 128–129, 133, 136–137, 148–149, 159, 161, 168, 171, 176, 201–202, 206–207, 210, 212–223, 227–228

• conceptual motivation 5, 7, 19, 41, 44, 118–119, 121–122, 135–136, 165, 167, 205, 212, 214–215

• conceptual similarity 36, 173

• concordance 14, 16, 19, 137, 148–151, 153, 155–158, 160–162, 164–165, 207–208, 210, 222

• conventional, -ity 5, 17, 19, 26–29, 31, 46–47, 50, 52–58, 69, 71, 77, 90–95, 97, 99, 127–129, 167–168, 170–174, 176, 178, 182–183, 199–200, 202–203, 208–209, 215, 219, 224

• conventional is straight128

• corpusSee music criticism corpus

• corpus data 2, 15, 17, 58–60, 65, 97, 221

• corpus-linguistic approach 12, 15–16, 220–221, 223

• deictic, -ally 35, 63–64, 75, 119, 121–122, 124, 128, 130, 133, 135–140, 149–150, 153–157, 159–161, 164–165, 206–207, 209–210, 213, 226

• deixis 119–120, 154

• deliberate metaphor 92–93, 224

• deliberateness 90, 92–95, 170, 225

• discourse: architectural discourse 19, 83–85, 95, 132
  • mathematical discourse86
  • music(al) discourse 1, 8, 225–227
  • specialist discourse 83, 85–87, 89, 95–97, 172, 199
  • specific discourse 7, 13, 15–16, 60, 78, 85–86, 97, 199, 223, 225
  • technical discourse 26, 168
  • wine discourse 85, 97

• duration is length 64, 66, 115, 210

• ego 35, 60–66, 73–76, 118–119, 122–124, 126, 128, 130, 133, 136–137, 139–140, 150, 153, 155–156, 160–161, 165, 206–210, 213, 221, 228

• ego-based 60, 63–66, 74, 76, 118, 122, 124, 133, 137, 153, 155–156, 160, 165

• ego-neutral 60, 63–64, 66, 76, 118, 122–124, 137, 140, 206, 210, 221, 228

• embodied experience 2, 38, 44–45, 47, 49, 70

• embodied metaphor 41, 45–46, 48, 50, 60

• embodiment 41, 45–48, 50, 210, 223

• Event Structure Metaphor 5, 19, 41, 56–57, 67–70, 76–78, 82, 85, 99, 118, 121–130, 133, 137, 140, 161–165, 168, 206–208, 210–215, 218, 221, 228

• experiential motivation 18, 55, 222

• experimentSee rating experiment

• experimental study 12, 201

• experimental design 20, 167, 173, 183

• fictive motion 5, 15, 19, 36, 41, 43, 48, 50, 57, 76, 78–87, 89, 96, 99, 118, 120–122, 129–133, 137, 140, 150, 162–166, 168–170, 175–176, 178, 182, 196, 201, 206, 208, 211–215, 218, 221, 227–228

• frequency: frequency effect200
  • lemma frequency 141–145, 147, 176–178, 182, 190, 200, 208
  • metaphor frequency 13, 100, 105, 107, 109, 133, 205–206

• form is motion 81–82

• genre 6–7, 13, 15, 17–22, 27, 29, 41, 59–60, 96, 100, 109, 156, 158–159, 167–168, 170–171, 203, 205–207, 209–210, 218–220, 222, 224, 228

• gradability 89, 203

• harmonic development 10–12, 28, 125–129

• harmonic change 8–11, 112, 126–127, 130

• harmonic progression 3, 125–127, 130

• keyword analysis 14, 17, 19, 136, 140–141, 146–147, 149, 154, 156, 160, 166, 176, 206–207, 222

• knowing is seeing91

• life is a journey69

• literalness 89–90, 171, 185–191, 193–194, 197–198, 200–201, 203

• love is a journey 50–51, 58, 69, 127

• manner of motion verb 80, 84–87, 108, 137, 139–140, 151, 159, 207, 228

• manner verb 19, 81, 84–85, 132, 136–137, 139, 145–147, 149–151, 153–160, 162–164, 166, 176, 207–208

• manner of motion 67, 80–81, 85, 128, 137, 142, 161, 163, 165

• manner of motion along a path for configuration of the path 80–81

• melodic line 8, 77, 163–164

• mental scanning 42–44, 76, 132, 175, 211, 214

• metaphor identification 19, 30, 59, 89, 96, 100–101, 111, 221–222

• metaphorical mapping 18, 29–30, 56, 74, 90, 93–94, 124, 126, 172, 175, 215, 225

• metaphoricity, degree of 6–7, 12, 14, 17–18, 20, 76, 89–90, 92, 94–95, 132, 167–168, 170–172, 174, 199, 201, 208, 218, 222, 225

• metaphoricity rating 20, 183, 199, 202, 209, 219

• metaphoricity rating study 60, 223

• metaphoricity rating task 95, 222

• metonymy 54, 80–81, 83, 162, 211

• MIP 101, 109, 111

• MIPVU 19, 100–104, 106–109, 139, 221–222

• more is up53

• motion along a path for configuration of the path 80–81, 83

• Moving Ego 62–66, 73–74, 118–119, 124, 160, 213

• Moving Music 73–75

• Moving Observer 61–62, 161

• Moving Time 61–64, 66, 73, 118–119, 124, 126, 128, 160–161, 213

• music analysis 4, 22–24, 33, 35, 59, 95, 100, 107, 113, 133, 148, 205–206

• Musical Landscape 36, 73–74

• musical structure is physical structure116

• musical entities are parts of a building112

• musical voices as speakers117

• music as a language117

• music criticism corpus 2–3, 10, 13–15, 17, 19, 24, 28, 59, 65, 74, 94, 97, 99–100, 103, 105, 107, 109, 132, 135–136, 140–151, 156, 159–160, 164–166, 176, 205–207, 221

• music is architecture 112–113

• music is motion122

• music-literal 7, 26–27, 29, 89–90, 94, 168, 200, 203, 228

• music review 22, 24, 29, 133

• news register 105, 108, 205–206

• newspaper review 13, 23, 100, 104–105, 107, 151, 158–159, 166, 205

• newspaper register 107, 151, 207

• newspaper component (of the music criticism corpus) 100, 107, 109, 133, 151

• numbers are locations in space86

• ontogenetic perspective 223–24

• path verb 17, 135, 137, 139–141, 145–151, 153–158, 162, 164, 176–177, 207–208

• performance review 59, 107–108, 206–207

• performance token 21–23, 100, 107–108, 133, 206, 226

• persisting is being erect55

• phylogenetic perspective 223–24

• pitch is height 70–72, 115, 129

• pitch is thickness 71–72

• pitch relations are relations in vertical space70

• primary metaphor 53–55, 71, 91, 113, 116, 128–129

• purposes are destinations 68–69, 77, 120, 128, 161–162, 165–166, 168, 208, 210, 213

• ratingSee metaphoricity rating

• rating experiment 6, 14, 20, 90, 94, 167, 172, 203, 208 ; See also metaphoricity rating task, metaphoricity rating study

• registerSee academic register, newspaper register, news register

• regression 17, 172, 181–187, 189, 191–192, 194–195, 198, 200, 222

• score 2, 4, 13, 21–23, 73, 76, 100, 104, 107–108, 115, 117, 125–126, 131, 133, 159, 164, 169, 205–207, 210–211, 226

• score type 21–22, 100, 107–108, 133, 206–207, 226

• sequence is relative position on a path 63–64, 66, 119, 122, 124, 160, 168, 206

• similarity is close91

• similarity is proximity116

• simultaneous (in time) is parallel (in space) 123, 210

• situation is a mover 64–66, 119, 123–124, 206, 210

• socio-cultural perspective209

• sonata form is a path 126–127, 133, 162

• states are locations 67, 76–77, 125

• synoptic perspective 6, 133, 211

• synoptic view 35, 79

• Temporal Landscape 62, 64, 66, 73, 119, 209

• temporal metaphor 63, 65, 73, 118, 122–123, 126, 128–130, 133, 138–140, 160–161, 210, 218, 221

• temporal motion 76–77, 94, 124, 129, 137–140, 147–149, 160–161, 209

• theories are buildings55

• time is motion 5–6, 13, 16–20, 41, 49–50, 56–63, 65, 67, 70, 75–76, 78, 99, 112, 118, 121–122, 124, 129–130, 133, 135–138, 140–142, 146–150, 153, 155–156, 160–161, 165, 168, 206–210, 213–214, 218, 221, 226

• times are locations 65–66, 112, 210

• Time’s Landscape 61, 65

• understanding is grasping46