88 Alexandra Jandausch have starting points and end points and are located at certain positions. There is also one building block that is incomplete, but nevertheless contains a basic part that is common to all the other building blocks, so it can t into various structures.The analysis uses the same structure that we would use to describe how a buil-ding is organized. We draw upon our knowledge of physical structure to describe and make sense of abstract musical structure. Parts of architectural structure can be measured vertically and horizontally, parts of musical structure can be measured vertically, in bars, beats, or time, and horizontally, in pitch and harmony.The Event-Structure Metaphor The event structure metaphor has space as a source domain and events as a target domain and it contains all the relevant mappings that are necessary for the concep-tualization of events. For the case of music we can make use of the so-called inherit-ance hierarchies and thus apply the event structure metaphor to music as well as to human cognition in general. In cognitive science, events are understood to have their own internal structure. The internal structure is image-schematic, because it is governed by our understanding of small spatial stories.Different aspects of event structure, such as states, changes, processes, actions, causes, purposes, and means are cognitively characterized in terms of space, mo-tion, and force.15 If the hypothesis, that the meaning of music lies in the recognition and understanding of meaningful musical events, then these musical events must conform to the event structure metaphor. Furthermore, the analysis of music must conform to the principles of the event structure metaphor and the Invariance Prin-ciple. Musical analysis does nothing other than verbalize for instance states (tonal-ity, meter, rhythm, timbre) changes (of tonality, instrumentation, rhythm, and so forth), processes (modulations, solos played), actions (cues given, improvisations played), and causes (the actual modulation which is movement along a path).Events also show causal structure. Causation is understood through image schemas of force-dynamics.16 The implication of this theory for music is that causes, that are often understood by projection of the image schema of movement along a path, can be made explicable. A cause in music is, for instance, a modulation or a ca-dence, the developing of a theme through different groups of instruments, and so forth. Musical analysis should be more accessible for the broad public if it used a language and models of explanation that are governed by the metaphorical map-pings that lie underneath them.17 The general mapping, not all the mappings are listed here, of the event structure metaphor according to Lakoff is:15 Lakoff, 1993, p. 220.16 Pinker, S. 2008. The Stuff of Thought. Language as a Window into Human Nature . London: Penguin Books, p. 219–224.17 Cook, N. 2001. Theorizing Musical Meaning. In: Music Theory Spectrum. Vol. 23, No. 2 (Fall 2001), pp. 170–195