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Schedule' -he .great +ocal/instrumental

di+ide% 0ain musical instruments

classes( Cross"currents between

knowledge organization 1KO2and organological classi3cationschemes

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' Vocal/instrumentaldi+ideMusic perspective

0usic considered +ocal or instrumentalValues change o+er time, e g◦ '# th century: rise o .absolute musicVocal and instrumental music asgenres?

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' Vocal/instrumentaldi+ideKO perspective

Classi3cation schemes rein orcethe +ocal/instrumental di+ide, e g◦ 4ighest di+ision within 5medium6◦ Same conce7t treated di8erently in

+ocal and instrumental◦

Se7arate citation orders4owe+er, no strong preference or instrumental or +ocal

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' Vocal/instrumentaldi+ideClassifying choral symphonies

Orchestral works with choral7arts9 g eetho+en6s # th sym7hony0edium ; orchestra < choir 1<soloists2=orm ; sym7hony Vocal or instrumental?

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' Vocal/instrumentaldi+ide

Analysis of choral symphoniesin KO schemes reveals …◦ )i>culties in handling 5+ocal and

instrumental6 works◦ I treated as +ocal, 7roblems ha+ing an

5instrumental6 ormSo ?

In music domain choral sym7honiesare hybrid and original re ectedin KO

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% 0usical instrument classes

Organology perspective historical!=rom Bncient reek theorists onwards,5traditional6 ( class system

"trings #ind $ercussion

Order o strings/wind +ariesDercussion usually at end

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% 0usical instrument classes

Organology perspectivemodern!%owever ?

0ahillon6s A class system in '!!&)i+ision: how soundscreated/vibrationsasis o 4ornbostel and Sachs

classes&diophones

Chordophones

'erophones

Membranophone

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% 0usical instrumentclasses(O perspective

( 5traditional6 classesEhen 7ercussion is di+ided, notusually at class le+elKeyboard instruments o ten inse7arate class di8erent romorganology)ominance o Eesterninstruments

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( *inking KO and musicschemes

)o organological ta@onomiee g 4/S, in3ltrate KO schem

4owF Ehich classesF

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( *inking KO and musicschemes)*ample +. =le@ible classi3cation1'#GH2

4/S used or 7ercussioninstruments◦ 0ain di+ision within 7ercussion class:

idio7hones and membrano7hones◦

Ordering within idio7hones andmembrano7hone sections indebtedto 4/S

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( *inking KO and musicschemes)*ample ,. )ewey )ecimalClassi3cation

1))C Dhoeni@ schedule/edition %& onwards2

4ea+ily indebted to 4/SUse o 4/S terminology◦ e g 5Eind instruments 1Bero7hones26◦ e g 50echanical struck idio7hones6

Orders within classes correlate to 4/Sut - cannot entirely esca7e older ))Ceditions, e g keyboards still se7arate

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( *inking KO and musicschemes- and in the opposite direction

4/S uses KO ideas o notationButhors state use o ))C notation

1 noli: ? actually the 9uro7ean, Otletand *a =ontaine ada7tation o ))C2"o ? KO scheme also inJuencingorganological ta@onomies=ull circle: ))C%& onwards utilises 4/S,which was itsel inJuenced by ))C

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( *inking KO and musicschemes

otatio

n

))C

4/S

U)C

otationStructure,terminology, etc

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Concluding thoughts)i8erent ways o tra+ersing theboundary◦ !e ection 0usic domain reJected

in KO◦ "ndependence 0usic and KO di8er◦ Adoption KO ado7ts elements o

music schemes, and occasionally +ice+ersa

Study the boundary understandissues

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Luestions

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