Conceptual Metaphor: A Central Process in the Perception & Analysis of Music 89 STATES ARE LOCATIONS (bounded regions in space)CHANGES ARE MOVEMENTS (into or out of bounded regions)CAUSES ARE FORCES ACTIONS ARE SELF-PROPELLED MOVEMENTS PURPOSES ARE DESTINATIONS MEANS ARE PATHS (to destinations)DIFFICULTIES ARE IMPEDIMENTS TO MOTION LONG TERM, PURPOSEFUL ACTIVITIES ARE JOURNEYS EXTERNAL EVENTS ARE LARGE MOVING OBJECTS 18 Mappings in the domain of music do not have to contain all the mappings enlisted here, because mapping structure always is highly selective, the mappings are given to preserve completeness of the metaphor. Assuming the event structure metaphor has implications for music theory, they would result in new mappings, such as:MODULATIONS ARE CHANGES OF LOCATION CHANGES OF INSTRUMENTATION ARE CHANGES OF LOCATION CHANGES OF RHYTHMIC PATTERNS ARE SELF-PROPELLED MOVE-MENTS KEYS ARE STATES RHYTHMS AND METERS ARE STATES MELODIES ARE MOVING OBJECTS MELODIES ARE SELF-PROPELLED MOVEMENTS Zbikowski's analysis shows, that the underlying mapping conforms to how we con-ceive of events:The rst variant, which initiates the transition that begins in m. 30 (as shown in ex. 4.15a), differs from the model in that it is stated solo against accompani-ment and in alternation with a competing gure in the rst violin and then concludes with a skip down an octave. From a harmonic perspective, this vari-ant is more static than the original α form in that it prolongs but a single pitch-class (here, C) through the combination of the turn gure and an octave skip; […]. 18 Lakoff, G. 1993