Napredna pretraga

Pregled bibliografske jedinice broj: 873868

The embodied and the cultural in the conceptualization of pitch space in Croatian


Ostroški Anić, Ana; Kiš Žuvela, Sanja
The embodied and the cultural in the conceptualization of pitch space in Croatian // 3rd International Symposim on Figurative Thought and Language - Book of Abstracts / Brdar, Mario (ur.).
Osijek: Filozofski fakultet Sveučilišta J. J. Strossmayera u Osijeku, 2017. str. 72-72 (predavanje, međunarodna recenzija, znanstveni)


Naslov
The embodied and the cultural in the conceptualization of pitch space in Croatian

Autori
Ostroški Anić, Ana ; Kiš Žuvela, Sanja

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, sažetak, znanstveni

Izvornik
3rd International Symposim on Figurative Thought and Language - Book of Abstracts / Brdar, Mario - Osijek : Filozofski fakultet Sveučilišta J. J. Strossmayera u Osijeku, 2017, 72-72

Skup
3rd International Symposim on Figurative Thought and Language

Mjesto i datum
Osijek, Hrvatska, 26-28.04.2017.

Ključne riječi
Conceptualization of music, musical pitch space, image schemas, embodiment, music theory

Sažetak
Most conceptual metaphors that conceptualize musical pitch rely heavily on our orientation in vertical space as well as on our experience, images and perception structured through the spatial and orientational image schemas such as the schema of VERTICALITY. The conceptual metaphor PITCH RELATIONSHIPS ARE RELATIONSHIPS IN VERTICAL SPACE, the universally used metaphor in Western music, maps the up-down spatial orientations onto the pitch continuum, and provides a system of metaphors used to describe pitch contour, gesture and musical space (Zbikowski 2002: 66f). The same conceptual mapping is also applied in the naming of human voice types, musical scale degrees, manual pitch representation (cheironomy), or in the representation of tonal relationships (e.g. ascending and descending fifth relationship). Although the present metaphoric representation of the Western pitch space in terms of verticality, borrowed from Medieval Latin treatises, is still the dominant mode of musical pitch conceptualization (Park 2015), there are many languages that use other metaphors to refer to pitch relations. In some languages there is a metonymic connection between the performance of music and the instruments used, which results in the attribution of small and large to the pitches typical of the music performance. Musical pitch relationships can also be described in terms of thickness or width. The paper analyses the relationship of the image schemas that are the basis of conceptual metaphors used to conceptualize musical pitch space and its relations, which represent the foundation for building further conceptual metaphors such as TONALITY IS HOME and TIME RELATIONSHIPS ARE RELATIONSHIPS IN HORIZONTAL SPACE. Metaphors that conceptualize pitch relationships in terms of vertical space, thickness, width and size are analysed in order to define whether their motivation is embodied (Lakoff and Johnson 1999, Kemler 2001), or if there are elements that can be attributed to the cultural models (Holland and Quinn 1987) that influence the process of creation and understanding of music. The examples of linguistic metaphors are extracted from a corpus of historical and contemporary Croatian music theory texts.

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Međunarodna recenzija

Projekt / tema
HRZZ-IP-2013-11-5355 - Problemi temeljnoga suvremenog glazbenog nazivlja u Hrvatskoj (Nikša Gligo)

Izvorni jezik
Engleski

Znanstvena područja
Filologija, Znanost o umjetnosti

Ustanove
Institut za hrvatski jezik i jezikoslovlje, Zagreb,
Muzička akademija, Zagreb