Conceptual Metaphor: A Central Process in the Perception & Analysis of Music 87 Source Domain Target Domain structure/buildings piece of music process of construction building to climax/cadence, etc.span interval vertical spatial dimension interval size horizontal spatial dimension temporal duration structure vs. ornament structure vs. ornament foundation underlying structure pillars pillars of harmony arch melodic arch, arch form base bass voice, base of melodic action bridge bridge/passage/section physical forces musical forces (emotion)balance formal balance symmetry symmetry in pitches or durations vertical spacing registral spacing horizontal spacing rhythm supporting members stable harmonic/formal elements The analogical correspondences might seem trivial at rst sight, but music is an ab-stract domain, so knowledge from a concrete domain is transferred and used to con-ceptualize the target domain of music.To show how the MUSIC IS ARCHITECTURE metaphor as a special case of the OR-GANIZATION IS PHYSICAL STRUCTURE primary metaphor shapes our reason-ing about music Laurence Zbikowski's analysis of Beethoven's String Quartet op. 18 No 1 shall serve as an example.14 The F major quartet opens with a principal motive that takes two distinctly dif-ferent forms. The rst (a in ex. 4.14) is assertive, direct, and ends on the rst beat of the measure. The second (b in ex. 4.14) is voiced in a light manner, is harmonically fuid, and ends on the third beat of the measure. Joining these is a fragmentary form (c in ex. 4.14) whose characteristics is less distinctive, and which plays a much more subsidiary role in the exposition. This fragment con-sists of little more than the stylized turn gure common to all forms of the mo-tive. […] It is this feature of commonality that […] allows the motive to t se-amlessly into a variety of different contexts.Here we have the motive as a building block, a part of the overall structure of the piece of music. The building blocks appear in two different shapes or forms. They are said to have the following characteristics: assertive, direct, light and fuid. They 14 Zbikowski, L. 2002. Conceptualizing music. Cognitive Structure, Theory and Analysis. AMS Studies in Mu-sic. Oxford University Press, p. 177.