historical Ratings:
historical classification systems: China, India and Europe
cultures in China and India created its own classification systems that have maintained the tradition for centuries. In Chinese culture
instruments have been divided according to eight types of sound or tones with which imitates the sound of the eight basic materials. These different signals turn correspond with the eight wind directions and the eight directions of space specific. These eight stamps are those that imitate the sound of the stone (Lytophone), bronze (bells), wood (wooden plates collide, type castanets), skin (drums), silk (stringed instruments), ceramics (ocarina), bamboo (flute), pumpkin (mouth organs). Although it has introduced modern plastic and other synthetic materials to replace traditional classification has been retained and the evocation of the old sounds. In India
already appear in the Natyashastra (century) several types of instruments classified as: bells, gongs, rattles (or metal idiophones), drums, strings, woodwinds. This classification has since the four basic types to be introduced in Europe in the nineteenth century: idiophones, membranophones, stringed instruments and wind instruments.
in Europe are divided into strings, wind and percussion since Classical Greece.
In the Renaissance, Johannes Tinctoris (ca. 1435-ca. 1511) in De usu et inventione musicae, ca. 1487 makes it one of the earliest histories of the instruments from antiquity to his time and divides them into: winds (derived from the tibia) and strings (from the lyre).
* The wind in turn are divided into perfect (which makes the whole range and can play all kinds of instrumental parts) and imperfect (those who do not have these possibilities).
Virdung Sebastian (ca. 1465 -?) In his treatise Musica Getutsch published in Basel in 1511 recom-ge Greek classical tradition and divides them into strings, woodwinds, percussion.
* Subdivide the strings into 4 groups according to morphological features: keyboard, with mast and dishes, with many strings, and with few strings that do not have frets.
* And the wind into 2 groups: with mechanical action (eg, organ) and human action (those of human breath.)
In the Baroque resumes perfect and imperfect classification already mentioned by Tinctoris, with the same motive of sonic possibilities. Other authors use the Italian harpist Giovenardi Bartolomeo (Jobernardi). But also at this time are introduced other functional classifications, usually related to the bass.
or GIOVENARDI, B.: Treaty of Music, Madrid, 1634, Mss in the National Library in Madrid: Harmonics (vocals), air or breath (organs, flutes, etc), rhythmic (harps, lutes, keys) and participants (violins, fiddles arc).
or AGAZZARI, A.: sonar sopra the basso, Siena, 1607, one of the first treatises on basso continuo: Background (own continuo) and ornament (harp, harpsichord, guitar and others).
or Mersenne, M.: in Harmonie Universelle, Paris, 1636-37: Mobile and immobile, the motives are: either flexible or vibrating (for air, touch, arc, etc), immobile Lytophone, triangles, combs, and in general the idiophones.
These classifications are shown incomplete for the needs arising from the nineteenth century collectors and museums formation of the first instrumental.
* Problem of homonyms, ie, different instruments that have the same name (for example the bagpipe is an instrument of bellows in Galicia, Asturias and many other parts of Spain and Europe, but also a kind of popular flageolet or flute in certain parts of Castile, and is also called the vielle Zamora bagpipe).
* heteronyms ie, the same instrument is known by various names (eg plow, horn, harp, Jew's harp).
system and version Mahillon and Hornbostel Sachs:
Victor is often cited as the first Charles Mahillon drawn up and published in the Catalogue Descriptif Analitique et du Musée Instrumental (descriptive and analytical Catalog Instrument Museum) of Brussels (1880-1922) classification into four parts that has been used since then is this: string instruments, wind instruments, and autófonos membranophones. However, this classification had been proposed earlier by François Auguste Gevaert (1828-1908) Museum director in his Traité d'instrumention 1863.
classification V. Mahillon Ch establishes the following categories:
or Groups as the vibrant nature of matter:
or Stringed: sound is produced by vibrating one or more strings stretched between two fixed points.
or Aerophones: the sound is produced by the vibration of air inside or outside the body of the instrument.
or Autófonos: sound is produced by vibration of the tool material itself and they do not involve the tension of strings or membranes.
or Membranophones: sound is produced through a flexible membrane that can be tightened.
or subgroups by the mode of execution:
or Stringed: pulsed (harp, guitar, lute), rubbed (family of violin, viola da gamba, rebec).
or Aerophones: with single reed (clarinet) or double reed (oboe, bassoon, shawm), nozzle (trumpet, family of tubas, trombones), bezel (flutes).
or Autófonos: percussion (castanets, bells) of clamping or vibrating reeds (plow or mouth harp or African Sanza), rubbing (harmonica vessels).
or Membranophones: with intonation given (drums) no intonation given (tambourine, drums varied).
Criticism Mahillon classification focus on subgroups is not always easily established in a closed system like this. There are strings that can be either plucked or rubbed. The keyboards would be separated: harpsichord and piano with string instruments tidos percutaneous; keys and spruce, which are plucked string, with the guitars and lutes, the harp can also be pressed or hammered (dulcimer). Thus, instruments with similar morphology would be dispersed because they are touched in different ways.
Germans Curt Sachs and Erich M. von Hornbostel (The History of Musical Instruments, 1940). These authors use the decimal classification system that was invented recently North Americans Melvil Dewey (1851-1931) which are formed by subdivisions of the general to the particu-lar by using numbers.
Idiophones
1 11 111 Idiophones
Idiophones hit directly hit 111.1
Hit occurs between two complementary parts
sound ... 111,141
with cavity (castanets)
... 111.2
Idiophones casings with or against an object not sound
... Percussion 111,232
plates or sheets and group (xylophone)
... 12 Idiophones dotted
...
2 Membranophones Membranophones casings
21 211 direct percussion
...
etc.
The result of this classification provides:
or a hierarchical system that goes from general to particular and divides the area into classes, subclasses, orders, suborders, etc. An open system
or sequentially ordering ideas and allows the inclusion of new elements.
or a static system, ie ahistorical.
In this classification we have made several translations and versions with critical analysis of the classification system.
system S & H applies to Western instruments without much difficulty. But Latin America has paid off because there are specific instruments that combine various types, as being both membranophones idiophones and other mixtures.
Spain has a special interest in the study of folk instruments issued by José Antonio de Donostia and John Thomas in Anuario Musical in 1947, which follow the classification of S & H, directly translated into Castilian by the German.
Being a long-standing (1914), revisions to their application to specific purposes are almost always needed, and more, taking into account the new languages \u200b\u200band management systems alpha-betic or numeric appeared with the information age . But essentially, in the divisions and subdivisions, remains unchanged.
Proposals from ethnomusicology and other classifications:
Pierre Schaeffner early as 1936 in his book on the origin of musical instruments posed a new classification (barely used later), thinking perhaps more extraoccidentales instrument ( as he was in charge at the Paris Musée Del'Homme) than Western. Classification in summary is: Vibrant solids or corps
: Hard
or not tensables (all rigid materials except those of wind, ie idiophones) bells, rattles, gongs, xylophones, Lytophone, etc. Their materials are varied: ceramics, stone, wood, metal, etc.
or Tensables (all string instruments and all membranophones, the union of the two types is one aspect criticized by some authors because it is not useful for Western instruments, but praised by others outside Europe because there are instruments that combine the two).
or Flexible (those who use tabs, as Zanza, plow, etc.).
or wind instruments
From the 1970 displayed another type of classifications using a symbolic taxonomy, ie graphic language.
of aseptic and ahistorical classifications, starting from the general to the particular, and that is the classic paradigm of S & H, we arrive at classifications that are based on the individual description to go to the generic, which include cultural contexts and ways of being touched, involving rituals, etc. in addition to the purely morphological. It uses a graphical language with pre-established codes, proposed by ethnomusicologists as Mantle Hood (Springfield, Illinois, 1918), Oskar Elschek (Bratislava, 1931) and later. Such classifications
graphics were received and implemented in ethnomusicological studies, in which this system has to change the ranking Eurocentric and add more information in each of their applications.
The proposal is the latest classification of the Japanese musicologist Sumi Gunji (1996), implemented in the catalog of the collection of instruments of Kunitachi College of Tokyo. This is a new organization, practical and functional, to catalog an extensive collection of modern instruments. For this Gunji introduces new categories different from those of S & H:
I. Depending on the type of materials (They are called in Latin terms):
1. Massophone (massa = solid)
2. Cupophone (cupa = hole in the solid mass)
3. Clavophone (key = rod)
4. Tabulophone (tabulated = table)
5. Cordophone (chorda = string)
6. Membranophone (membrane)
II. According to the material that vibrates (human body, plant, animal, mineral, air, liquid, synthetic material tico).
III. According to the source of vibration (percussion, friction, touch, vibrating air, electronic oscillations cas).
IV. How to apply the vibration in the body (directly, indirectly or mechanical).
V. How do you convert that vibration (not converted, it becomes resonance, vibration for-lysed, for electronic vibrations).
VI. Way that converts vibration (solid, hollow board, membrane, cord, rod).
VII. Material which occurs or becomes this vibration (human body, plant, animal, mineral, air, liquid, plastic).
This classification is expressed schematically in a table of numbers, so the various instrumental types are also expressed through a numbering (for example a drum is 6312315, a trumpet is 4141265, a gong 44121 -, etc).
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