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The chapter begins with a discussion of the role of the metaphor in the formation of sound’s ontology by situating metaphorical descriptions of sound within a discussion of existing definitions of sound found in various musicological and philosophical works. The chapter shows that different ontological metaphors govern how we make sense of sound in the act of listening and how they are used as cognitive tools with which to do certain things with sound during music production. It is argued that people conceive of the general existence of sound via metaphors and that music listening and music production involve attending to sounds at different ontological levels simultaneously.

The Introduction to Volume 2 of The Oxford Handbook of Sound and Imagination serves three purposes. First, it broadly sets out the aims and arc of the handbook and in particular its multidisciplinary scope. Second, it describes the handbook’s genesis and the principles that guided its development. Third, the Introduction lays out the content of each of the five parts of the second volume (“Musical Performance,” “Systems and Technologies,” “Psychology,” “Aesthetics,” and “Posthumanism”) and briefly summarizes each chapter.

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