2022
Koskela, Oskari; Tissari, Heli; Tuuri, Kai
Käsitemetaforan näkökulma pelimusiikin henkilökohtaiseen merkityksellisyyteen Journal Article
In: Musiikki, vol. 52, iss. 4, 2022, ISSN: 2669-8625.
Abstract | Links | Tags: Conceptual metaphor, Game music, Game music memories, Käsitemetafora, Kokemukset, Merkitys (tärkeys), Muistot, Musiikki, Musiikkifilosofia, Pelimusiikki
@article{Koskela2022,
title = {Käsitemetaforan näkökulma pelimusiikin henkilökohtaiseen merkityksellisyyteen},
author = {Oskari Koskela and Heli Tissari and Kai Tuuri},
url = {https://musiikki.journal.fi/article/view/125643
https://musiikki.journal.fi/article/view/125643/75694},
doi = {https://doi.org/10.51816/musiikki.125643},
issn = {2669-8625},
year = {2022},
date = {2022-12-21},
urldate = {2022-12-21},
issuetitle = {Pelimusiikin tutkimus Suomessa},
journal = {Musiikki},
volume = {52},
issue = {4},
publisher = {Suomen musiikkitieteellinen seura},
abstract = {The perspective of conceptual metaphor on personal meaningfulness of game music
The use of metaphors is prevalent when talking about music in everyday life as well as in more professional contexts. As such, the role of metaphors in describing and understanding music has been a topic for philosophical discussions and more recently also for empirical research. While most of the focus has traditionally been on the meaning of music, in this article we consider metaphors as related to the personal meaningfulness of music. More specifically, we investigate metaphoric expressions in personal narratives of fond game music memories, aiming to understand what the metaphors tell about the relationship between music and the listener. Following the theory of conceptual metaphor, we treat metaphors not as merely rhetorical figures of speech but as a pervasive feature of human meaning-making, that is, as related to the way we understand abstract things by conceptually mapping our understanding of concrete things.
Our data is a set of 183 Finnish stories about personally meaningful memories with game music. We analysed the data in several steps, starting with the identification of metaphoric expressions and their source domains, followed by reducing them to their image schematic structures. Finally, we used the image schematic structures to organise the metaphors into 8 wider categories: Agency, Force, Spatial relations, Transfer, Mediator, Linkage, Tangible thing/object and Sensation. Besides presenting these categories as outlining different aspects of how the listeners’ conceptualise the personal meaningfulness of game music, we discuss the theory of conceptual metaphor as a viable approach for understanding musical experiences more generally.},
keywords = {Conceptual metaphor, Game music, Game music memories, Käsitemetafora, Kokemukset, Merkitys (tärkeys), Muistot, Musiikki, Musiikkifilosofia, Pelimusiikki},
pubstate = {published},
tppubtype = {article}
}
The perspective of conceptual metaphor on personal meaningfulness of game music
The use of metaphors is prevalent when talking about music in everyday life as well as in more professional contexts. As such, the role of metaphors in describing and understanding music has been a topic for philosophical discussions and more recently also for empirical research. While most of the focus has traditionally been on the meaning of music, in this article we consider metaphors as related to the personal meaningfulness of music. More specifically, we investigate metaphoric expressions in personal narratives of fond game music memories, aiming to understand what the metaphors tell about the relationship between music and the listener. Following the theory of conceptual metaphor, we treat metaphors not as merely rhetorical figures of speech but as a pervasive feature of human meaning-making, that is, as related to the way we understand abstract things by conceptually mapping our understanding of concrete things.
Our data is a set of 183 Finnish stories about personally meaningful memories with game music. We analysed the data in several steps, starting with the identification of metaphoric expressions and their source domains, followed by reducing them to their image schematic structures. Finally, we used the image schematic structures to organise the metaphors into 8 wider categories: Agency, Force, Spatial relations, Transfer, Mediator, Linkage, Tangible thing/object and Sensation. Besides presenting these categories as outlining different aspects of how the listeners’ conceptualise the personal meaningfulness of game music, we discuss the theory of conceptual metaphor as a viable approach for understanding musical experiences more generally.
The use of metaphors is prevalent when talking about music in everyday life as well as in more professional contexts. As such, the role of metaphors in describing and understanding music has been a topic for philosophical discussions and more recently also for empirical research. While most of the focus has traditionally been on the meaning of music, in this article we consider metaphors as related to the personal meaningfulness of music. More specifically, we investigate metaphoric expressions in personal narratives of fond game music memories, aiming to understand what the metaphors tell about the relationship between music and the listener. Following the theory of conceptual metaphor, we treat metaphors not as merely rhetorical figures of speech but as a pervasive feature of human meaning-making, that is, as related to the way we understand abstract things by conceptually mapping our understanding of concrete things.
Our data is a set of 183 Finnish stories about personally meaningful memories with game music. We analysed the data in several steps, starting with the identification of metaphoric expressions and their source domains, followed by reducing them to their image schematic structures. Finally, we used the image schematic structures to organise the metaphors into 8 wider categories: Agency, Force, Spatial relations, Transfer, Mediator, Linkage, Tangible thing/object and Sensation. Besides presenting these categories as outlining different aspects of how the listeners’ conceptualise the personal meaningfulness of game music, we discuss the theory of conceptual metaphor as a viable approach for understanding musical experiences more generally.
2019
Reunanen, Markku
Trackerit: Paradigman synty, kukoistus ja myöhemmät vaiheet Journal Article
In: Musiikki, vol. 49, iss. 2-3, pp. 14-31, 2019, ISSN: 0355-1059.
Abstract | Links | Tags: Hobbies, Media history, Musiikki, Trackerit
@article{Reunanen2019b,
title = {Trackerit: Paradigman synty, kukoistus ja myöhemmät vaiheet},
author = {Markku Reunanen},
url = {https://musiikki.journal.fi/article/view/87867},
issn = {0355-1059},
year = {2019},
date = {2019-12-02},
journal = {Musiikki},
volume = {49},
issue = {2-3},
pages = {14-31},
abstract = {Trackerit ovat tietokoneiden musiikkiohjelmia, joiden historia ylettyy yli kolmenkymmenen vuoden päähän. Ne kytkeytyvät tiukasti kotitietokoneiden his-toriaan, eikä ole liioittelua väittää, että ne toivat aiemmin saavuttamattomissa olleet digitaaliset sävellystyökalut harrastajien saataville 1980-luvun kuluessa. Kolmen vuosikymmenensä aikana trackereita on käytetty kaupallisiin ja harrastustarkoituksiin, ja niiden ympärille on syntynyt aktiivista harrastuskulttuuria. Tässä artikkelissa käyn läpi trackerien historiaa, ominaispiirteitä ja käyttökohteita. Tutkimusaineistona on 60 tracker-ohjelmaa ja kuusi niiden tekijöiden haas-tattelua. Tutkimustuloksissa korostuvat trackerien ja aikalaisteknologian välinen tiivis suhde, ohjelmien tekijöiden taustat ja mielenkiinnon kohteet sekä paradigman vaiheittainen kehitys nykyiseen muotoonsa.
Trackers are music software whose history spans over thirty decades. They are tightly linked to the history of home computers, and they made previously unreachable digital composition tools available to enthusiasts in the 1980s. Over the years trackers have been used both for commercial and non-commercial purposes, for example games and demos, and they have given rise to lively hobbyist communities. In this article, I go through the history of trackers, their characteristics and typical uses. The study is based on the analysis of 60 tracker programs and six interviews of their creators. The findings highlight the tight link between trackers and computer hardware, the reasons why authors wanted to create such software, and the gradual evolution of the paradigm.},
keywords = {Hobbies, Media history, Musiikki, Trackerit},
pubstate = {published},
tppubtype = {article}
}
Trackerit ovat tietokoneiden musiikkiohjelmia, joiden historia ylettyy yli kolmenkymmenen vuoden päähän. Ne kytkeytyvät tiukasti kotitietokoneiden his-toriaan, eikä ole liioittelua väittää, että ne toivat aiemmin saavuttamattomissa olleet digitaaliset sävellystyökalut harrastajien saataville 1980-luvun kuluessa. Kolmen vuosikymmenensä aikana trackereita on käytetty kaupallisiin ja harrastustarkoituksiin, ja niiden ympärille on syntynyt aktiivista harrastuskulttuuria. Tässä artikkelissa käyn läpi trackerien historiaa, ominaispiirteitä ja käyttökohteita. Tutkimusaineistona on 60 tracker-ohjelmaa ja kuusi niiden tekijöiden haas-tattelua. Tutkimustuloksissa korostuvat trackerien ja aikalaisteknologian välinen tiivis suhde, ohjelmien tekijöiden taustat ja mielenkiinnon kohteet sekä paradigman vaiheittainen kehitys nykyiseen muotoonsa.
Trackers are music software whose history spans over thirty decades. They are tightly linked to the history of home computers, and they made previously unreachable digital composition tools available to enthusiasts in the 1980s. Over the years trackers have been used both for commercial and non-commercial purposes, for example games and demos, and they have given rise to lively hobbyist communities. In this article, I go through the history of trackers, their characteristics and typical uses. The study is based on the analysis of 60 tracker programs and six interviews of their creators. The findings highlight the tight link between trackers and computer hardware, the reasons why authors wanted to create such software, and the gradual evolution of the paradigm.
Trackers are music software whose history spans over thirty decades. They are tightly linked to the history of home computers, and they made previously unreachable digital composition tools available to enthusiasts in the 1980s. Over the years trackers have been used both for commercial and non-commercial purposes, for example games and demos, and they have given rise to lively hobbyist communities. In this article, I go through the history of trackers, their characteristics and typical uses. The study is based on the analysis of 60 tracker programs and six interviews of their creators. The findings highlight the tight link between trackers and computer hardware, the reasons why authors wanted to create such software, and the gradual evolution of the paradigm.