Performance works: Continuing to comprehend instantiation

Abstract

Much work in knowledge organization (KO) is conceptual, which results in a theoretical framework that is itself largely conceptual. In some cases empirical methods have been employed as well for direct observation of phenomena. Direct observation provides a critical base point and a variety of empirical approaches have been used to good effect in KO. The phenomenon of instantiation has been examined to date almost entirely based on the analysis of data derived from empirical analysis. In the present paper we demonstrate the efficacy of the empirical model for category generation by taking one category of instantiation-the performance work-and submitting it to analytical scrutiny. Data from three analytical studies are reviewed and placed alongside evidence from datasets gathered for prior studies on instantiation. A performance work is realized in space and time, and thus exists spatiotemporally. The performance work might be derived from a precedent work, related to other works that are embedded, have adjunct documentation, and be accompanied by antecedent works. A naïve classification is derived empirically, a model follows rationally, and together with semiotic elements a partial typology is generated that represents the essential knowledge elements from which a KO schema for performance works might evolve.

The Bibliographic Work: History, Theory, and Practice

“…Some models, such as FRBRoo, acknowledge the performance aspect by defining a performance work as a separate class of work entirely. 64 In addition to performance, the act of recording a piece of music itself may be considered an act of creation. FRBRoo defines a recording work as its own entity, 65 while Christopher Holden has examined the phenomenon of "playback works" of music that are bound to a specific recording, 66 as well as musical works that sample and remix other sound recordings.…”

Linking Knowledge

“…The idea of a performance as an entity separate from the musical work, its printed instantiations, or recordings of its expressions, is critical but has received only little attention. Smiraglia (2007) demonstrated empirically the instantiation network of a set of performances, which can be thought of as "works" distinct from the musical abstractions in them. Twelve years after this paper only a few scholars have thought to distance themselves from the error of considering a performance to be a direct instantiation of a work.…”