90 Alexandra Jandausch The second variant of the α form of the motive, introduced by the viola in mm. 41–42, is similar to the rst, but it concludes with a repeated note instead of an octave skip (as shown in ex. 4.15b): rather than a single pitch-class, now only a single pitch (Eb3) is prolonged.19 Here we have the variant as an animate agent, who is different from the model, who also is an animate agent. These agents stand in opposition that is, they are com-peting. The pitch-class C is a bounded region in space, a trajectory along which the melody moves. The viola, is a FORCE that moves the motive along a trajectory to the Eb pitch-class, a bounded region in space.Discussion The application of conceptual metaphor theory is problematic to a certain extent, as there are competing theories, that are not always uni able.There are many concepts, such as image-schemas, primary metaphors, basic metaphors, the Invariance Prin-ciple, entailments, and ontological structure that need to be investigated for their re-levance to music. Seitz for instance, distinguishes between the different theories of metaphor, and proposes four types of basic metaphors.20 He criticizes, that Lakoff et al. do not ex-plain how people proceed in mapping certain source domains onto target domains. Lakoff et al. take image-schematic structure for granted and there is no clear-cut de- nition of the term image-schema that is directly applicable to music. The analysis of the Beethoven quartet that Zbikowski provides shows that the language used for the analysis is metaphoric. The question, why certain metaphors are used for the description of language is interesting because of different reasons: many analyses of pieces of music show similar linguistic choices that are made by the respective authors. People can talk to each other about music, and even when they talk about music in a very casual manner, they come to an agreement about the music, or we could say, that they have a 'meaningful' conversation, whether they agree on esthetic issues or not is irrelevant as long as the one person understands what the other person means. Another reason is that people can give a record of a piece of music that they know, but their listener does not know. To be able to give a more or less accurate de-scription of a piece of music, or even to be able to compare one piece of music to another one, requires a kind of structure in the non-linguistic domain of music that is transferable to language.19 Zbikowski, L. 2002, p. 180.20 Comp. Seitz, J.A. 2005, pp. 88–90.