ABSTRACT
Musicology' applies in the main to individuals writing about musical history, irrespective of the focus of their particular musical interests. Thus a music critic might well fall under the aegis of this description, as might an analyst, or music philosopher. 'Metaphor', as a word, does not seem to appear in British musicology of the period under consideration, which spans roughly from the 1830s to the period before the First World War. A word allied to it, in figurative terms, does appear with some regularity, namely 'analogy'. The meaning of the word 'analogy' is not dissimilar to that of metaphor, and they share, in many ways, the same level of connotative vagueness or complexity. Henry Banister, for example, writing in Musical Art and Study, Papers for Musicians, distinguishes between musical ethics as a template of moral law, and musical analogies as poetically illustrative of that law.
