Conceptual Metaphor: A Central Process in the Perception & Analysis of Music 91 Conclusion Even though the examination of the examples given is very short, it is obvious that conceptual metaphor underlies our understanding of musical structures. In the in-troduction it was mentioned that we need to bridge the gap between a non-linguist-ic domain and the domain of language. Why we use certain mappings, as shown above, needs to be investigated further. I.e. what mechanism in the domain of music causes the MUSIC IS ARCHITECTURE metaphor and the event-structure metaphor to show up in the language we use to analyze or describe music. Following the ar-gument of Seitz, that music involves all four kinds of basic metaphors: perceptu-al-perceptual, cross-modal (two domains of language and music), movement-move-ment, and perceptual-affective (music and emotion, e. g. bright sounds, cheery tune), the application of the event-structure metaphor seems to be a good starting point. The event-structure metaphor contains various sub-mappings, or primary metaphors. Furthermore it has a rich image-schematic structure, that has to be fur -ther analyzed. It is possible, that conceptual metaphor theory does not suf ce to capture all the possible mappings and possible meanings of music. For the future, there remains to investigate, if conceptual integration theory, or blending theory, is a more appropriate approach, as many scholars see conceptual metaphor as a subsys-tem or special case of conceptual integration.