Arrangement

Boyd, Malcolm

doi:10.1093/gmo/9781561592630.article.01332

Cited by 3 publications

(2 citation statements)

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“…Furthermore, if LIS schemes could allow for them, not only would this create a more perfected faceted structure of music, it would also allow for any future permutations of musical medium. The LIS classifications of arrangements reflect the music domain's reflections about the dominance of instrumental-to-instrumental arrangements from the Baroque era onwards (Boyd, 2001), as also codified in the music domain proto-taxonomy of arrangements by Keller (1969) A similar situation arises for the broad categorization of size, where sometimes the accompaniment of groups is treated differently from the accompaniment of ensembles; furthermore, some broad size foci are not permitted to be the accompanied or accompaniment, such as there being no way of a work for orchestra being accompanied by piano in schemes such as BCMC or Flexible. Therefore, a model of LIS classification would benefit from accompaniment and arrangement sub-facets which are entirely free from both vocal/instrumental and broad size categorizations, for the purposes of a truer faceted structure and being open to works of any musical medium, however fanciful.…”

Section: Impact Of Vocal/instrumental Categorization On Accompanimentmentioning

confidence: 99%

Section: Arrangement and Accompanimentmentioning

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: Impact Of Vocal/instrumental Categorization On Accompanimentmentioning

confidence: 99%

Section: Arrangement and Accompanimentmentioning

confidence: 99%

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

Lee

Robinson

2018

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Extending the IFLA Library Reference Model for a Brazilian popular music digital library

2020

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O processo de adaptação para violão do Capriccio em Ré maior (SW 91.2, SW 25*) para alaúde barroco de Silvius Leopold Weiss (1687-1750)

Simão

2016

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Este trabalho trata do estudo e processo de transcrição e adaptação para o violão da obra Capriccio (SW 91.2, SW 25*) de Silvius Leopold Weiss (1687-1750), composta originalmente para alaúde barroco. Existem três fontes primárias diferentes dessa obra que estão presentes nos manuscritos das coleções de Londres (London Weiss Ms., British Library of London) e Varsóvia (Warszawa, Biblioteka Uniwersytecka, Polska). Em 2003, a Lute Society of America publicou uma versão restaurada da obra realizada pelo alaudista Michel Cardin, que combinou essas três diferentes fontes, sendo essa edição juntamente com os manuscritos a base da transcrição para o violão aqui apresentada. A diferença de afinação e do número de cordas entre o alaúde e o violão gera, na adaptação para o violão, problemas devidos às características idiomáticas técnico-musicais presentes na obra que devem ser analisados e cujas soluções são discutidas através de exemplos musicais. No final a transcrição integral da obra é apresentada.

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Arrangement

Cited by 3 publications

References 0 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

Extending the IFLA Library Reference Model for a Brazilian popular music digital library

O processo de adaptação para violão do Capriccio em Ré maior (SW 91.2, SW 25*) para alaúde barroco de Silvius Leopold Weiss (1687-1750)

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