The interactions between music and words were significant only in Tasks 1, 2, and 3. The results show that in the priming condition of music with tempo changes, state verbs and inanimate nouns elicited larger N400 amplitudes than action verbs and animate nouns, respectively in the anterior regions and anterior to central regions, whereas in the priming condition of music without tempo changes, action verbs elicited larger N400 amplitudes than state verbs and the two categories of nouns revealed no N400 difference, unexpectedly. During the experiments, participants were required to hear a piece of music prior to judging whether an ensuing word (verb or noun) is semantically congruent with the motion concept conveyed by the music. inanimate nouns) in the same priming condition as adopted in Study 1. slow music) while Study 2 (Tasks 3 and 4) tested the processing of nouns (animate nouns vs. decelerating music) and without tempo changes (fast music vs. state verbs) primed by two music types, with tempo changes (accelerating music vs. Study 1 (Tasks 1 and 2) tested the processing of verbs (action verbs vs.

The two event-related potentials (ERP) studies investigated how verbs and nouns were processed in different music priming conditions in order to reveal whether the motion concept via embodiment can be stimulated and evoked across categories. This evidenced by the use of static relative reference frames for co-occurring events alongside Path-based metaphorical motion through consecutive events. In addition, by applying Levinson’s (1996) spatial reference frames, the spatial conceptualization of music is argued to be multidimensional. In the for-other condition, participants devoted their attention more evenly to the Source, Path, and Goal. Results found in the for-self condition, participants referred less to the Source of motion events and more to the Path and Goal. The study comprises of participants describing instrumental music excerpts in a written mode under two conditions: reporting their own experience (for-self) and writing for another participant (for-other). By using Cogntive Discourse Analysis (Tenbrink 2015), I apply Talmy’s models of Figure-Ground motion (1975), windowing of attention (1996), and lexical conflation (1985) to examine expressions of this form of abstract motion. Much theoretical and experimental research has been undertaken with the framework of Conceptual Metaphor Theory (Johnson and Larson, 2003 Adlington 2003 Larson 1997 Eitan and Granot 2006 Antovic 2009), but no one has yet applied a perception-based motion schematization model to descriptions of musical ‘movement’. The aim of this MA dissertation is to investigate attention of metaphorical motion in music description and how people situate themselves in respect to these motion events.

Something in the way she moves