Metaphor, Emotion, and Music Analysis 291 melody – and high activation, when the muscles of the creature are primed for ac-tion – evinced in the tension of the submediant (G major) tonality. One marker of freezing is that the startle refex is potentiated: the big shock at bar 63 is the most startling in the whole movement. By comparison, the loud dissonances in the tonic group are always prepared through Schubert’s careful art of transition, including processive sequences. This refects startle inhibition, which typi es the orienting phrase of the trajectory. Finally, the development expresses ght, the climax of the trajectory, when whatever is hinted at in the introduction fully arrives, loud and tutti (Ex. 3).Example 3 Schubert here exploits all the traditional semiotic markers of battle symphonies: trumpets, timpani, and aggressive gestures. Conclusion The real conclusion of Schubert’s symphony, of course, follows after the develop-ment section. But there isn’t a fth stage to Öhman’s trajectory, after ‘ ght or fight’. The phenomenon of recapitulation is one of the ways that musical structure differs from temporal structures in the real world, which do not repeat; i.e., go back in time. In recapitulating the rst three modules of the trajectory (apart from the circa-strike stage), the symphony could be said to ‘refect’ on the emotional progression; com-muting real or every-day life emotion into aesthetic emotion. It is crucial, nally, to consider some of the ways that musical emotions are distinctive from emotions in