Less atten t ion has been given to the exa minatio n of the analogy of music a nd motion fr om a listene r s pe rs pe ct iv e.

One member of each pair presents an increase (intensification) Motion features associated with musical parameters (Wilcoxon signed ranks tests) Z-scores a The influence of dynamics on features of imagined motion: vertical direction (rise, fall, no change), distance change (approach, away, no change), lateral direction (right, left, no change), and speed change (faster, slower, no change).

Bars represent the distribution of responses to crescendo (bars on the left) as compared to diminuendo (bars on the right) among all participants in Experiment 1 (top row, N 78) and the slowtempo Experiment 2 (bottom row, N 95).

Motion features associated with musical parameters (chi-square) 2 The influence of pitch contour on features of imagined motion: vertical direction (rise, fall, no change), distance (approach, away, no change), Figures - uploaded by Zohar Eitan Author content All figure content in this area was uploaded by Zohar Eitan Content may be subject to copyright.

G RAN OT The H ebr ew U nivers ity of J erusalem T HIS AR TI CLE PRESENTS AN emp irical investiga tion of the ways listener s associate changes in m usical parameters with ph ysica l space a nd bodi l y motion.

In t he experi- ments r eported, participan ts were ask ed to associate melodic stimuli with imagined mo tions o f a human charac ter an d to specify the type, direction, a nd pace- ch an ge of th ese motio ns, as well as the for ces af fecting th em.

The stim uli consist ed of pairs of b r ief figures, one member of a pair p resentin g an intensificatio n in a specific musical parameter, the other an abatemen t (e.g., crescendo vs.

Results indicat e that most m usical param- eters significantly affect several dimensions of motio n imagery.

Fo r instance, pi tch co nto ur af fected imagined mo tion alo ng all three spa tial axes (not o nly verticali ty), as well as velocity an d energy.

A surprising finding of this st udy is tha t musi cal-spatial a nalogies are o ften asymmetrical, as a mu sical chang e in one dir ection evo kes a sign ific antly stronger sp at i al a na l og y than its oppo site.

Recei ved F ebruary 13, 2004, accep ted J une 30, 2004 R ECENT YEARS H A VE REVEALED increasing in terest by diverse scholarl y domain s in the role of cr oss- modal interactions in m usic, and partic ularly in th e association s of m usic with ph ysica l space and bodily motion.

M usic theorists influenced by Lakoff and Jo hnson s notio ns of embodied metapho r and image sc hemas (Joh nson, 1987; J ohnson Larson, 2003; Lakoff Jo hnson, 1980) hav e used cross-domain ma ppin g as a basis for m usical analysis, theoretical models of m usical structure, an d meta-theoretical accoun ts of musical dis- course (Br ow er, 2001; Larson, 1997; Sasla w, 1996; Spitzer, 2004; Zbiko wski, 1997, 2002).

Analogies of mu sical fig- ures an d bodily gestur es prov ide f or the iconic co mpo- nent in the Pier ce an notion o f musical signification, as int erpreted b y recent theories o f musical semiotics (Cumming, 1997; H att en, 1997-2002, 2005; Lidov, 1987, 1999).

Concurrently, theoretical a nd emp irical studies ar e in vestiga ting the in teraction o f music wi t h visual and kinesthetic stimuli in the perception o f f ilm, dance, and ot her forms of musical m ultimedia (B olivar, Cohen, Fent re ss, 1994; Co ok, 1998; Krumhansl Schenck, 1997; Li pscom b, 2005; Lipscom b K endall, 1994).

In deed, perceptual experiments, usin g simp le audi- tor y sti muli, have suggeste d that auditor y par ameters such as pi tch height o r loudness and visuospa tial fea- tu re s such as size, shape, and height in teract in p ercep- tion (see Ma rks, 2000, for a survey of the litera ture).

Ku bo vy V an V alk enbu rg (2001), follo wing Angell (1906), pr opose that an a uditory where system, s er v- ing visual o rientatio n, may accoun t, at least pa rtially, for such int eractions between the audi tor y and visuo- kinetic modalities.

A uditory lo calizatio n occurs in the sp ac e wo rl d of vi sio n-t ouc h-m ov emen t.M o s t p e r - so ns s eem to make their localiza tion of so unds either in th e fo rm of visual imagery, or in the fo rm of quasi- re fl ex localizing mov ements o f the head and eye H OW M USIC M O VES: Musical Parameters a nd Listeners Images o f Motio n Mus ic Pe rce pt io n VOLU ME 23, ISSUE 3, PP.

ISSN 0730-7829, ELECTRONIC ISSN 1533-8312 2006 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA.

HTM Ho w Music M oves: Music al Pa rameters a nd Listeners I mages o f Mo tion 221 1 The title H ow Mu sic Mo ves is derived from Kivy (1990, cha pter 8).

MUSIC.23221-248.qxd 01022006 12:26 Page 221.

Support fo r such notion s of cross-modal percep tion is supp lied by conver ging neurological evidence, suggesting that specific sub cortical areas such as the superior colliculus comb ine visua l, audi tory, and soma tosensory informa- tion in to an a modal spatial rep resentatio n (e.g., Spence Driver, 1997; Stein, W allace, Mer edith, 1995).

MusicalMotional Analogy Of the ideas ass ociating m usic with nona uditory domain s, the notion that m usic depicts analogues of ph ysical, particularly huma n, motion is p robably the oldest and the most inf luen tia l.

Aes t he t i c i a ns ha ve us e d this a nalogy to accoun t for (or sometimes, as with Ha ns lick, to discount) m usical affect, suggesting that mu sical str uctures evoke emo t ion thro ugh is omorphism with expr essive h uman motio n (Co ok, 1998; Davies, 1994; H anslick, 18911986; K ivy, 1980; L anger, 1953; Sc ru to n, 1997).

The idea t hat m usical gestures and ph rases are analog ous to na tural motion is also central in e nergetic t heories and analyses (concei ving mu sic as ge nerated by and exp ressive of the flux of mental tension an d relaxa tion) suggested b y a num ber of music theo- ri sts, most notab ly Ernst K urth (19171971, 19311969, 1991).

In dependently of the work o f music theo rists, psy- ch ol ogists of mu sic have tried in recen t decades to examine a nalogies of m usic and motio n emp irically.

The bulk of this r esearch (briefly sur veyed below) cen- ters upon music performance.

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