Numbers, Instruments and Hands: The Impact of Faceted Analytical Theory on Classifying Music Ensembles

Lee, Deborah

doi:10.5771/0943-7444-2017-6-405

Cited by 11 publications

(18 citation statements)

References 5 publications

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“…For instance, a string quartet has qualities from the interaction of four parts, which differs from the interaction between only two parts; similarly, a work for all stringed instruments has a certain timbre, information which is not explicit if only the individual instruments are classified. Lee (2017c) summarizes that there are actually four sub-facets for this area of musical medium, and furthermore, they have interesting and varied sets of relationships between each other -the subfacets and their relationships are reproduced in Figure 3. A further set of up to four more sub-facets especially relevant to ensembles and keyboard instruments are discussed in Lee (2017c), but are not …”

Section: Multiples and Numbers In Musical Mediummentioning

confidence: 99%

“…Lee (2017c) summarizes that there are actually four sub-facets for this area of musical medium, and furthermore, they have interesting and varied sets of relationships between each other -the subfacets and their relationships are reproduced in Figure 3. A further set of up to four more sub-facets especially relevant to ensembles and keyboard instruments are discussed in Lee (2017c), but are not …”

Section: Multiples and Numbers In Musical Mediummentioning

confidence: 99%

“…When considering the three example LIS classification schemes it can be seen that these schemes do not include all of the four sub-facets identified in Lee (2017c), only a sub-section; furthermore, they do not show the relationships between these sub-facets, thus neglecting some critical information about the medium. So, a model of musical medium classification would benefit from closer consideration of the issue of instrumental multiples.…”

Section: Figure 3: the Interrelationships Of Sub-facets Associated Wimentioning

confidence: 99%

“…While Lee (2017c) showed how a connected series of sub-facets relating to multiple instruments can be useful to express instrumental chamber music, this model goes further: voices and groups are also included in this loop-like structure. (The foci for "Category of instrument/voice/group" are less clear-cut for voices and groups than they are for instruments and there are a number of possibilities; nevertheless, this does not detract from the usefulness of these sub-facets and the multiples "loop".)…”

Section: The Structure and Features Of The Model Of Musical Mediummentioning

confidence: 99%

“…The problems with classifying instrument ensembles are explored in Lee (2017c) and will be briefly summarized here. Examples of instrumental ensembles include a trio for flute, oboe and bassoon, and a string quartet (two violins, viola and cello).…”

Section: Multiples and Numbers In Musical Mediummentioning

confidence: 99%

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The heart of music classification: toward a model of classifying musical medium

Lee

Robinson

2018

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This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent repository linkThe heart of music classification: towards a model of classifying musical medium AbstractPurpose: This article seeks to understand the classification of musical medium, which is a critical part of music classification. It considers how musical medium is currently classified, provides a theoretical understanding of what is currently problematic, and proposes a model which rethinks the classification of medium and resolves these issues.Design/methodology/approach: The analysis is drawn from existing classification schemes, additionally using musicological and knowledge organization literature where relevant. The article culminates in the design of a model of musical medium. Findings:The analysis elicits sub-facets, orders and categorizations of medium: there is a strict categorization between vocal and instrumental music, a categorization based on broad size, and important sub-facets for multiples, accompaniment and arrangement. Problematically, there is a mismatch between the definitiveness of LIS vocal/instrumental categorization and the blurred nature of real musical works; arrangements and accompaniments are limited by other categorizations; multiple voices and groups are not accommodated. So, a model with a radical new structure is proposed which resolves these classification issues. Research limitations/implications:The results could be used to further understanding of music classification generally, for Western art music and other types of music. Practical implications:The resulting model could be used to improve and design new classification schemes and to improve understanding of music retrieval.Originality/value: Deep theoretical analysis of music classification is rare, so this article's approach is original. Furthermore, the article's value lies in studying a vital area of music classification which is not currently understood, and providing explanations and solutions. The proposed model is novel in structure and concept, and its original structure could be adapted for other knotty subjects.

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Section: Multiples and Numbers In Musical Mediummentioning

confidence: 99%

Section: Multiples and Numbers In Musical Mediummentioning

confidence: 99%

Section: Figure 3: the Interrelationships Of Sub-facets Associated Wimentioning

confidence: 99%

Section: The Structure and Features Of The Model Of Musical Mediummentioning

confidence: 99%

Section: Multiples and Numbers In Musical Mediummentioning

confidence: 99%

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The heart of music classification: toward a model of classifying musical medium

Lee

Robinson

2018

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Orthogonality, dependency, and music: An exploration of the relationships between music facets

Lee

Robinson

Bawden

2020

Asso for Info Science & Tech

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The classification of Western art music is a complex area of knowledge organization, yet the reasons for those complexities have not been fully studied. This article dissects the concept of orthogonality, in particular regard to music classification. Orthogonality (antonym: dependency) means that one facet acts independently from another facet. While orthogonality is an assumed quality of facets, it has attracted relatively little attention in knowledge organization discourse. This article utilizes bibliographic classification schemes, musicological writings, and musical works, to analyse orthogonality in music classification. The relationships between the medium, form/genre and function facets are unpicked and a strong dependency is found between these facets. Whether this orthogonality exists as a construct of faceted classification or stems from the domain knowledge is explored. Furthermore, the analysis initiates new thinking about the general concept of orthogonality. The idea of a spectrum of dependency is proposed. In addition, novel, orthogonalityderived phenomena are discussed-"dynamic facets" and "meta-dependency"-where the boundary between what is and is not a facet are blurred. The concluding model visualizes the chain of dependencies between music facets, ultimately showing how the lack of orthogonality plays a key role in the complexity and issues found in music classification.

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Phenomenon‐based classification: An Annual Review of Information Science and Technology (ARIST) paper

Gnoli,

Smiraglia,

Szostak

2024

Asso for Info Science & Tech

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While bibliographic classifications are traditionally based on disciplines, the logical alternative is phenomenon‐based classification. Although not prevalent, this approach has been explored in the 20th century by J.D. Brown, the Classification Research Group, and others. Its principles have been stated in the León Manifesto (2007) and are currently represented by such general schemes as the Basic Concepts Classification and the Integrative Levels Classification. A phenomenon‐based classification lists classes of phenomena, including things and processes irrespective of the discipline studying them (which can optionally be specified as an additional facet). Facets can work in a phenomenon‐based system much as in a disciplinary one. This kind of system will promote the identification of potential relationships between research in different disciplines, and will especially benefit interdisciplinary work. The paper reviews the theory, history, structure, advantages, applications, and evaluation of phenomenon‐based classification systems.

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Numbers, Instruments and Hands: The Impact of Faceted Analytical Theory on Classifying Music Ensembles

Abstract: Citation: Lee, D. (2017). Numbers, instruments and hands: the impact of faceted analytical theory on classifying music ensembles. Knowledge Organization, 44(6), This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent

Cited by 11 publications

References 5 publications

The heart of music classification: toward a model of classifying musical medium

The heart of music classification: toward a model of classifying musical medium

Orthogonality, dependency, and music: An exploration of the relationships between music facets

Phenomenon‐based classification: An Annual Review of Information Science and Technology (ARIST) paper

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