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Metaphor and Musical Thought by Michael Spitzer EPUB screenshot
2015 | University of Chicago Press| ISBN: 022627313X | 25.4 MB | 392 Pages | EPUB
“The scholarship of Michael Spitzer’s new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner.”-Lydia Goehr, Columbia University

The experience of music is an abstract and elusive one, enough so that we’re often forced to describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form; that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music’s abstractions by referencing more concrete and familiar experiences.

Michael Spitzer’s Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music—the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music’s meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians.

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  Resident 5.12.2012 822 21162
  Resident 16.03.2013 652
An excellent analysis proposal, although I wouldn't say it's the best. Above all, it is an excellent model of hermeneutics supported by precepts of cognitive linguistics, embodied cognition, semiotics and rhetoric. But this publication ignores the question of the symbol in music as well as the question of musical topics. It summarizes all the meaning that is produced from sonic materials of music as a metaphor, as if themes, chords, rhythms, and why not say patterns, no matter how ephemeral they are for our perception and even for memory, cannot have any kind of indexing potential and even symbolization. All the music produced by the media is there precisely to show that there are other contributions of meaning (the cognitive mapping that produces metaphorical meaning is a very important category of meaning in the field of music, but it is not the only one: for example, in cognitive linguistics, metonymy is another type of cognitive mapping, while for Spitzer, metonymy is a metaphor subcategory). Nevertheless, together with the writings of Lawrence Zbikowski, this book has become an important contribution to the music analysis field.
Para-para-parAUDIOZ/SEX! Whoa-oh-oh oh-oooh oh-oh-oh...
  Member 18.10.2021 126 42
Thanks for your very informative comment, I'm going to check the key writings of Zbikowski now
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