Running in circles or moving along lines: Conceptualization of musical elements in sighted and blind children

Musicae Scientiae

Volumn 17, Issue 2, 2013, Pages 229-245

  Antović, Mihailo ^a   Bennett, Austin ^b   Turner, Mark ^b  

^a UNIVERSITY OF NI   (Serbia)

^b CASE WESTERN RESERVE UNIVERSITY   (United States)

Author keywords

Blind; children; metaphor; music; sighted

Indexed keywords

EID: 84878946552     PISSN: 10298649     EISSN: None     Source Type: Journal    
DOI: 10.1177/1029864913481470     Document Type: Article

References (94)

1. Adlington R.Moving beyond motion: Metaphors for changing sound.Journal of the Royal Musical Association. 2003;128 (2): 297-318.
2. Afonso A.,Blum A.,Katz B. F. G.,Tarroux P.Structural properties of spatial representations in blind people: Scanning images constructed from haptic exploration or from locomotion in a 3-D audio virtual environment.Memory & Cognition. 2010;38 (5): 591-604.
3. Aksnes H.Music and its resonating body.Danish Yearbook of Musicology. 2001;29:81-101.
4. AntovićM. (2007). Optimality and metaphor theory in music and language cognition (Unpublished doctoral dissertation). University of Niš, Serbia.
5. Antović M.Musical metaphor in Serbian and Romani children: An empirical study.Metaphor & Symbol. 2009;24 (3): 184-202.
6. Arnheim R.Visual thinking. Berkeley, CA: University of California Press; 1969:.
7. Ashley R.Musical pitch space across modalities: Spatial and other mappings through language and culture. Proceedings of the 8th International Conference on Music Perception and Cognition; 2004; 2004. 64.
8. Bedny M.,Caramazza A.,Grossman E.,Pascual-Leone A.,Saxe R.Concepts are more than percepts: The case of action verbs.Journal of Neuroscience. 2008;28 (44): 11347-11353.
9. Bedny M.,Caramazza A.,Pascual-Leone A.,Saxe R.Typical neural representations of action verbs develop without vision.Cerebral Cortex. 2012;22 (2): 286-293.
10. Bedny M.,Saxe R.Insights into the origins of knowledge from the cognitive neuroscience of blindness.Cognitive Neuropsychology. 2012;29 (1-2): 56-84.
11. Bernstein L.The Unanswered Question. Cambridge, MA: Harvard University Press; 1976:.
12. Bigelow A.Blind children's concepts of how people see.Journal of Visual Impairment and Blindness. 1988;82 (2): 65-68.
13. Boldt W.The development of scientific thinking in blind children and adolescents.Education of the Visually Handicapped. 1969;1 (1): 5-8.
14. Boroditsky L.,Prinz J.Embodied grounding: Social, cognitive, affective, and neuroscientifi{ligature}c approaches. Semin G. R.Smith E. R., ed. New York, NY: Cambridge University Press; 2008:98-111.
15. Brower C.A cognitive theory of musical meaning.Journal of Music Theory. 2000;44 (2): 323-379.
16. Butterworth B. L.Language production. Volume 1: Speech and talk. Butterworth B. L., ed. London, UK: Academic Press; 1980:155-176.
17. Cabrera D.,Morimoto M.Influence of fundamental frequency and source elevation on the vertical localization of complex tones and complex tone pairs.The Journal of the Acoustical Society of America. 2007;122 (1): 478-488.
18. Carreiras M.,Codina B.Spatial cognition of the blind and sighted: Visual and amodal hypothesis.Cahiers de Psychologie Cognitive/Current Psychology of Cognition. 1992;12 (1): 51-78.
19. Casasanto D.,Phillips W.,Boroditsky L.Do we think about music in terms of space: Metaphoric representation of musical pitch. Proceedings of 25th Annual Conference of the Cognitive Science Society; 2003; 2003. 1323.
20. Chafe W.Coherence and grounding in discourse. Tomlin R., ed. Amsterdam, The Netherlands: John Benjamins; 1987:21-51.
21. Chomsky N.Language and problems of knowledge. Cambridge, MA: MIT Press; 1988:.
22. Collignon O.,Vandewalle G.,Voss P.,Albouy G.,Charbonneau G.,Lassonde M.,Lepore F.Functional specialization for auditory-spatial processing in the occipital cortex of congenitally blind humans.Proceedings of the National Academy of Sciences of the United States of America. 2011;108 (11): 4435-4440.
23. CoxA. (1999). The metaphoric logic of musical motion and space (Unpublished doctoral dissertation).University of Oregon, Eugene.
24. Cumming N.Theory, analysis and meaning in music. Pople A., ed. New York, NY: Cambridge University Press; 1994:3-28.
25. Cutsforth T. D.The unreality of words to the blind.Teachers Forum. 1932;4 (1): 86-89.
26. Dodds A. G.,Carter D. D. C.Memory for movement in blind children: The role of previous visual experience.Journal of Motor Behavior. 1983;15 (4): 343-352.
27. Eitan Z.,Eitan O.,Granot R.Listening in the dark: Congenital and early blindness and cross-domain mappings in music.Psychomusicology: Music, Mind and Brain. 2012;22 (1): 33-45.
28. Eitan Z.,Granot R.How music moves: Musical parameters and images of motion.MusicPerception. 2006;23 (3): 221-247.
29. Eitan Z.,Timmers R.Beethoven's last piano sonata and those who follow crocodiles: Cross-domain mappings of auditory pitch in a musical context.Cognition. 2010;114 (3): 405-422.
30. Epstein R.,Gamlin P.Young children's comprehension of simple and complex metaphors presented in pictures and words.Metaphor and Symbolic Activity. 1994;9 (3): 179-191.
31. Esposito A.,Stejskal V.,Smékal Z.,Bourbakis N.Advances in brain, vision and artificial intelligence. Mele F.Ramella G.Santillo S.Ventriglia F., ed. Berlin, Germany: Springer; 2007:542-554.
32. Feld S.Flow like a waterfall: The metaphors of Kaluli musical theory.Yearbook for Traditional Music. 1981;13:22-47.
33. Flowers P.,Wang C.Matching verbal description to music excerpt: The use of language by blind and sighted children.Journal of Research in Music Education. 2002;50 (3): 202-214.
34. Forceville C.,Urios-Aparisi E.Multimodal metaphor. Berlin, Germany: Mouton de Gruyter; 2009:.
35. Fugiel B.Waveform circularity from added sawtooth and square wave acoustical signals.Music Perception. 2011;28 (4): 415-424.
36. Gallese V.,Lakoff G.The brain's concepts: The role of the sensory-motor system in conceptual knowledge.Cognitive Neuropsychology. 2005;22 (3): 455-479.
37. Gardner H.,Silverman J.,Denes G.,Semenza C.,Rosenstiel A.K.Sensitivity to musical denotation and connotation in organic patients.Cortex. 1977;13 (3): 242-256.
38. Glaznieks A.Windows to the mind: Metaphor, metonymy and conceptual blending. Handl S.Schmid H., ed. Berlin, Germany: Mouton de Gruyter; 2011:63-84.
39. Gleitman L.The structural sources of verb meaning.Language Acquisition. 1990;1 (1): 3-55.
40. Guck M.Music and meaning. Robinson J., ed. Ithaca, NY: Cornell University Press; 1997:201-214.
41. Hall A.Methods of equivalence grouping by congenitally blind children: Implications for education.Journal of Visual Impairment and Blindness. 1983;77 (4): 172-174.
42. Hespos S. J.,Baillargeon R.Infants' knowledge about occlusion and containment events: A surprising discrepancy.Psychological Science. 2001;12 (2): 141-147.
43. Hurovitz C.,Dunn S.,Domhoff G.,Fiss H.The dreams of blind men and women: A replication and extension of previous findings.Dreaming. 1999;9 (2-3): 183-193.
44. Jackendoff R.Consciousness and the computational mind. Cambridge, MA: MIT Press; 1987:.
45. Johnson M.The body in the mind. Chicago, IL: University of Chicago Press; 1987:.
46. Johnson M.,Larson S.Something in the way she moves: Metaphors of musical motion.Metaphor & Symbol. 2003;18 (2): 63-84.
47. Kephart J.G.,Kephart C.P.,Schwartz G.C.A journey into the world of the blind child.Exceptional Children. 1974;40 (6): 421-427.
48. Kerr N.,Foulkes D.,Schmidt M.The structure of laboratory dream reports in blind and sighted subjects.Journal of Nervous and Mental Disease. 1982;170 (5): 286-294.
49. Klein J.Lehrbuch zum Unterrichte der Blinden, um ihnen ihren Zustand zu erleichtern, sie nützlich zu beschäftigen und sie zur bürgerlichen Brauchbarkeit zu bilden. Wien, Austria: Schaumburg; 1819:.
50. Lakoff G.,Johnson M.Philosophy in the flesh. New York, NY: Basic Books; 1999:.
51. Landau B.Encyclopedia of the human brain. Ramachandran V., ed. San Diego, CA: Academic Press; 2002:395-418.
52. Landau B.,Gleitman L. R.Language and experience: Evidence from the blind child. Cambridge, MA: Harvard University Press; 1985:.
53. Landau B.,Dessalegn B.,Goldberg A.Language, cognition, and space: The state of the art and new directions. Chilton P.Evans V., ed. London, UK: Equinox; 2010:51-77.
54. Larson S.Musical forces: Motion, metaphor and meaning in music. Bloomington: Indiana University Press; 2012:.
55. Lerdahl F.Tonal Pitch Space. New York, NY: Oxford University Press; 2004:.
56. Lidji P.,Kolinsky R.,Lochy A.,Morais H.Spatial associations for musical stimuli: A piano in the head?.Journal of Experimental Psychology. 2007;33 (5): 1189-1207.
57. Madsen C.,Darrow A.The relationship between music aptitude and sound conceptualization of the visually impaired.Journal of Music Therapy. 1989;26 (2): 71-78.
58. Mahon B.,Anzellotti S.,Schwarzbach J.,Zampini M.,Caramazza A.Category-specific organization in the human brain does not require visual experience.Neuron. 2009;63 (3): 397-405.
59. Mandler J.The spatial foundations of the conceptual system.Language & Cognition. 2010;2 (1): 21-44.
60. Marmor G. S.Age at onset of blindness in visual imagery development.Perception & Motor Skills. 1977;45 (3): 1031-1034.
61. Millar S.Reading by touch. London, UK: Routledge; 1997:.
62. Miller D.Reading comes naturally: A mother and her blind child's experiences.Journal of Visual Impairment and Blindness. 1985;79 (1): 1-4.
63. Morrongiello B.,Timney B.,Humphrey G.,Anderson S.,Skory C.Spatial knowledge in blind and sighted children.Journal of Experimental Child Psychology. 1995;59 (2): 211-233.
64. Norris M.,Spaulding P. J.,Brodie F. H.Blindness in children. Chicago, IL: University of Chicago Press; 1957:.
65. Perlman M.Unplayed melodies: Javanese gamelan and the genesis of music theory. Berkeley: University of California Press; 2004:.
66. Pratt C.The spatial character of high and low tones.Journal of Experimental Psychology. 1930;13 (3): 278-285.
67. Rogers T.,Lambon Ralph M.,Garrad P.,Bozeat S.,McClelland J.,Hodges J.,Patterson K.Structure and deterioration of semantic memory: A neuropsychological and computational investigation.Psychological Review. 2004;111 (1): 205-235.
68. Roffler S.,Butler R.Factors that influence the localization of sound in the vertical plane.Journal of the Acoustical Society of America. 1968;43 (6): 1255-1259.
69. Rusconi E.,Kwan B.,Giordano B.,Umilta C.,Butterworth B.Spatial representation of pitch height: The SMARC effect.Cognition. 2006;99 (2): 113-129.
70. Saslaw J.Forces, containers, and paths: The role of body-derived image schemas in the conceptualization of music.Journal of Music Theory. 1996;40 (2): 217-43.
71. Scruton R.The aesthetics of music. New York, NY: Oxford University Press; 1997:.
72. Seitz J. A.Nonverbal metaphor: A review of theories and evidence.Genetic, social and general psychology monographs. 1998;124:95-119.
73. Shepard R.Geometrical approximations to the structure of musical pitch.Psychological Review. 1982;89 (4): 305-333.
74. Spelke E. S.,Hespos S. J.Representation, memory, and development: Essays in honor of Jean Mandler. Stein N. L.Bauer P. J.Rabinowitz M.Mandler G., ed. Mahwah, NJ: Lawrence Erlbaum Associates; 2002:223-246.
75. Stankov L.,Spilsbury G.The measurement of auditory abilities of blind, partially sighted and sighted children.Applied Psychological Measurement. 1979;2 (4): 491-503.
76. Stephens B.,Grube C.Development of Piagetian reasoning in congenitally blind children.Journal of Visual Impairment and Blindness. 1982;76 (4): 133-143.
77. Sweetser E.From etymology to pragmatics. Cambridge, NY: Cambridge University Press; 1990:.
78. Talmy L.Toward a cognitive semantics. Cambridge, MA: MIT Press; 2000:.
79. Thinus-Blanc C.,Gaunet F.Representation of space in blind persons: Vision as a spatial sense?.Psychological Bulletin. 1997;121 (1): 20-42.
80. Tomasello M.Constructing a language: A usage-based theory of language acquisition. Cambridge, MA & London, UK: Harvard University Press; 2005:.
81. Torr J.,Simpson A.Grammatical metaphor: Views from systemic functional linguistics. Simon-Vandenbergen A.Taverniers M.Ravelli L., ed. Philadelphia, PA: John Benjamins; 2003:169-183.
82. Trainor L.,Trehub S.The development of referential meaning in music.Music Perception. 1992;9 (4): 455-470.
83. Treitler L.Music and meaning. Robinson J., ed. Ithaca, NY: Cornell University Press; 1997:23-56.
84. Ungar S.Cognitive mapping: Past, present and future. Kitchin R.Freundschuh S., ed. London, UK: Routledge; 2000:221-248.
85. Urwin C.Action, gesture and symbol: The emergence of language. Lock A., ed. New York, NY: Academic Press; 1978:79-108.
86. Vinter A.,Fernandes V.,Orlandi O.,Morgan P.Verbal definitions of familiar objects in blind children reflect their peculiar perceptual experience.Child: Care, Health and Development. 2012;:.
87. Walker A. R.Mental imagery and musical concepts: Some evidence from the congenitally blind.Bulletin of the Council for Research in Music Education. 1985;85 (1): 229-237.
88. Warren D.Blindness and children. An individual difference approach. Cambridge, UK: Cambridge University Press; 1994:.
89. Welch G.Visual metaphors for sound: A study of mental imagery, language and pitch perception in the congenitally blind.Canadian Journal of Research in Music Education. 1991;33 (1): 215-222.
90. Zangwill N.Music, metaphor and emotion.The Journal of Aesthetics and Art Criticism. 2007;65 (4): 391-400.
91. ZbikowskiL. (1998). Metaphor and music theory: Reflections from cognitive science. Music Theory Online, 4(1). Retrieved from: http://www.mtosmt.org/issues/mto.98.4.1/mto.98.4.1.zbikowski.html.
92. Zbikowski L.Conceptualizing music: Cognitive structure, theory, and analysis. New York, NY: Oxford University Press; 2002:.
93. Zemp H.Aspects of Are'are musical theory.Ethnomusicology. 1979;23 (1): 5-48.
94. ZimmermanM. P. (2011). Musical characteristics of children. Visions of Research in Music Education, 17. Retreived from: http://www-usr.rider.edu/~vrme/v17n1/visions/article8.