Metaphor, Emotion, and Music Analysis Michael Spitzer Within the vast ƒand growing literature on music and emotion, there have also been studies on the links with metaphor (see Zangwill 2007). The connection is pertinent. For instance, to call a piece of music ‘sad’ entails using this epithet in a non-literal way, since only people can be sad and music is not a person. In such a case, desig-nating music ‘sad’ is a metaphorical act: either we are relating to the musical work as a metaphorical person or persona (see Levinson 1996); or employing the epithet ‘sad’ metaphorically (it resembles sadness in some, but not all ways); or possibly both. Both these angles are pertinent in what I shall attempt to do in this paper, which is to analyze how a piece of music may display or perform an emotion in terms of its technical features. The piece is the rst movement of Schubert’s Sym-phony in B minor, the ‘Un nished’, and the emotion in question is Fear.Before I address Schubert’s music, I need to summarize a few of the most rel -evant points in the recent resurgence of music and emotion studies. The publication of Juslin and Sloboda’s Music and Emotion: Theory and Research in 2001 was epoch-making. Bringing together specialists in many disciplines, the book focused musi-cians’ attention on new orientations emanating from the sciences and social sciences, especially psychology. Juslin and Sloboda’s even more substantial 2010 Handbook of Music and Emotion sealed the paradigm-shift. Moreover, the intervening decade saw the appearance of two other seminal texts on this topic. Jenefer Robin-son’s Deeper than Reason (2005) contextualizes musical emotion within an ambitious philosophical architecture embracing all the arts. Given the portmanteau tendency of music & emotion studies – generally content to lay out the variety of approaches without judgment – Robinson’s work stands out as an act of synthesis which asks to be appraised as a coherent theory. Equally theoretical, on the musical side of the fence, is David Huron’s Sweet Anticipation (2006), a magisterial study of the psycho-logy of expectation. What Huron and Robinson share with Juslin & Sloboda is a Neo-Darwinian outlook on music as a form of evolutionary adaptation, continuous with behaviour in the real world. One tenet of the Darwinian theory of emotions is pluralism: thinking of emo-tions as multiple, rather than of a single monolithic Emotion with a capital E. Psy-chologists such as Juslin hold that listeners are best able to pick up Kve basic musical