Forces, Containers, and Paths: The Role of Body-Derived Image Schemas in the Conceptualization of Music

When we read music-theoretical texts, we often focus on the nature of the systems they present, separated from the aims and understanding of their authors. In this essay, I will outline method of using theoretical statements to illuminate the cognitive organization underlying the theory. Specifically, I will focus on image schemas, which are abstract cognitive structures. By examining this organization, we not only gain understanding of the authors' thought processes but also of our own. The methods outlined here are applicable to huge variety of statements about music; for the purposes of this investigation, the modulation theory of Hugo Riemann will be used as an example. Theories of cognitive organization put forth by linguist George Lakoff and philosopher Mark Johnson in both joint and individual writings published between 1980 and 1994 (Lakoff and Johnson 1980; Lakoff 1987, 1990, 1993, 1994; Johnson 1987) will serve as my primary tools in this investigation process. The work of Mark Turner also informs the method outlined here (Turner 1987, 1990, 1991, 1994; Lakoff and Turner 1989; Turner and Fauconnier, In press). First I will need to define some terms. Mark Johnson defines an image schema as a recurring, dynamic pattern of our perceptual interactions and motor programs that gives coherence and structure to our experi-