Musical meaning is often described in terms of emotions and metaphors. While many theories encapsulate one or the other, very little empirical data is available to test a possible link between the two. In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors. It resulted in each metaphor being associated with different specific emotions, subjective levels of entrainment, and acoustic and perceptual characteristics. How these constructs relate to one another could be based on the embodied knowledge and the perception of movement in space. For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results. Finally, we suggest that music researchers consider musical metaphors in their work as we provide an empirical method for it.

音乐意义通常用情感和隐喻来描述。尽管许多理论都封装了其中一种，但很少有经验数据可用于检验两者之间可能存在的联系。在这篇文章中，我们使用 162 名参与者的回答来检验西方古典音乐的隐喻和情感内容。我们计算了广义线性混合效应模型、相关性和多维尺度来连接情绪和隐喻。它导致每个隐喻都与不同的特定情绪、夹带的主观水平以及声学和感知特征相关联。这些结构如何相互关联可以基于体现的知识和对空间运动的感知。例如，依赖于运动的隐喻与与运动相关的情绪有关。此外，本研究中的测量也可以通过效价和唤醒等潜在维度来表示。音乐写作和音乐教育可以从这些结果中受益匪浅。最后，我们建议音乐研究人员在他们的工作中考虑音乐隐喻，因为我们为此提供了一种经验方法。