86 Alexandra Jandausch of central sensory, perceptual, and affective mechanisms that relate percepts and af-fects across dissimilar psychological domains based on relations within and between brain areas or networks.10 According to Lakoff (1993), our system of conceptual metaphors is governed by a global constraint called the \"Invariance Principle\", besides being grounded in em-bodied experience.11 The mappings must not result in an image-schematic clash, that is, elements from one domain can only be mapped onto corresponding ele-ments of another domain. The Invariance Principle preserves the cognitive topology, that is, the image-schematic structure, of the source domain in a way that is consist-ent with the inherent structure of the target domain. The source domain's inherent structure limits the possibilities for mappings. The inherent structure is given by the content of the source domain and preserved throughout the mapping: for container schemas source domain interiors are mapped onto target domain interiors, exteriors onto exteriors, and boundaries onto boundaries. The Invariance Principle is not a mere copying of structure from source to target, but it prevents image-schematic clashes in the target domain.MUSIC IS ARCHITECTURE Johnson and Larson show that architectural metaphors are an indispensable part of musical discourse.12 They claim that the MUSIC IS ARCHITECTURE metaphor is essential in creating music as well as in listening to music. The metaphor is often in-visible, as it is entrenched, but it is unavoidable, because cross-domain mappings are motivated as they are part of our conceptual system. The MUSIC IS ARCHITECTURE metaphor has experience and knowledge about architectural structures as the source domain, and speci c types of physical struc-ture in the target domain. For any mapping, music is always the target domain, as we take our knowledge of the concrete physical world to reason about music.The underlying primary metaphor is ORGANIZATION IS PHYSICAL STRUC-TURE.13 Primary metaphors are based on recurring correlations between certain sensory-motor experiences and subjective experiences and judgements that we make. Primary metaphors give rise to more complex metaphorical mappings, such as MUSIC IS ARCHITECTURE. The understanding of music as physical structure is culturally shaped on the one hand, on the other hand it is grounded in our experi -ence of functions as connected to physical structure.The mapping according to Johnson and Larson contains the following elements for the respective domains:10 Seitz, J.A. 2005, p.74.11 Lakoff, G. 1993, p. 215f.12 Johnson, M./Larson, S. 2002–3. Architectural Metaphors in Music Discourse and Music Analysis. Yearbook of Comparative and General Literature, 50. pp. 141–154.13 Johnson, M./Larson, S. 2002/3, p. 146.