Search (3 results, page 1 of 1)

  • × author_ss:"Lee, D."
  • × year_i:[2020 TO 2030}
  1. Lee, D.; Robinson, L.; Bawden, D.: Orthogonality, dependency, and music : an exploration of the relationships between music facets (2021) 0.00 
    0.0020106873 = product of:
  0.0040213745 = sum of:
    0.0040213745 = product of:
      0.008042749 = sum of:
        0.008042749 = weight(_text_:a in 212) [ClassicSimilarity], result of:
          0.008042749 = score(doc=212,freq=14.0), product of:
            0.04772363 = queryWeight, product of:
              1.153047 = idf(docFreq=37942, maxDocs=44218)
              0.041389145 = queryNorm
            0.1685276 = fieldWeight in 212, product of:
              3.7416575 = tf(freq=14.0), with freq of:
                14.0 = termFreq=14.0
              1.153047 = idf(docFreq=37942, maxDocs=44218)
              0.0390625 = fieldNorm(doc=212)
      0.5 = coord(1/2)
  0.5 = coord(1/2)
    Abstract
    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 research dissects the concept of orthogonality, in particular regard to music classification. Orthogonality (antonym: dependency) means that one facet acts independently from another facet. Although orthogonality is an assumed quality of facets, it has attracted relatively little attention in knowledge organization discourse. This research utilizes bibliographic classification schemes, musicological writings, and musical works to analyze 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, orthogonality-derived phenomena are discussed-"dynamic facets" and "meta-dependency"-where the boundary between what is and is not a facet is 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.
    Type
    a
  2. Lee, D.: Hornbostel-Sachs Classification of Musical Instruments (2020) 0.00 
    0.0016993409 = product of:
  0.0033986818 = sum of:
    0.0033986818 = product of:
      0.0067973635 = sum of:
        0.0067973635 = weight(_text_:a in 5755) [ClassicSimilarity], result of:
          0.0067973635 = score(doc=5755,freq=10.0), product of:
            0.04772363 = queryWeight, product of:
              1.153047 = idf(docFreq=37942, maxDocs=44218)
              0.041389145 = queryNorm
            0.14243183 = fieldWeight in 5755, product of:
              3.1622777 = tf(freq=10.0), with freq of:
                10.0 = termFreq=10.0
              1.153047 = idf(docFreq=37942, maxDocs=44218)
              0.0390625 = fieldNorm(doc=5755)
      0.5 = coord(1/2)
  0.5 = coord(1/2)
    Abstract
    This paper discusses the Hornbostel-Sachs Classification of Musical Instruments. This classification system was originally designed for musical instruments and books about instruments, and was first published in German in 1914. Hornbostel-Sachs has dominated organological discourse and practice since its creation, and this article analyses the scheme's context, background, versions and impact. The position of Hornbostel-Sachs in the history and development of instrument classification is explored. This is followed by a detailed analysis of the mechanics of the scheme, including its decimal notation, the influential broad categories of the scheme, its warrant and its typographical layout. The version history of the scheme is outlined and the relationships between versions is visualised, including its translations, the introduction of the electrophones category and the Musical Instruments Museums Online (MIMO) version designed for a digital environment. The reception of Hornbostel-Sachs is analysed, and its usage, criticism and impact are all considered. As well as dominating organological research and practice for over a century, it is shown that Hornbostel-Sachs also had a significant influence on the bibliographic classification of music.
    Type
    a
  3. Szostak, R.; Lee, D.: Classifying musical genres : building musical form and genre into BCC: repurposing LCGFT terms for music into the Basic Concepts Classification (2022) 0.00 
    0.0012159493 = product of:
  0.0024318986 = sum of:
    0.0024318986 = product of:
      0.004863797 = sum of:
        0.004863797 = weight(_text_:a in 227) [ClassicSimilarity], result of:
          0.004863797 = score(doc=227,freq=2.0), product of:
            0.04772363 = queryWeight, product of:
              1.153047 = idf(docFreq=37942, maxDocs=44218)
              0.041389145 = queryNorm
            0.10191591 = fieldWeight in 227, product of:
              1.4142135 = tf(freq=2.0), with freq of:
                2.0 = termFreq=2.0
              1.153047 = idf(docFreq=37942, maxDocs=44218)
              0.0625 = fieldNorm(doc=227)
      0.5 = coord(1/2)
  0.5 = coord(1/2)
    Type
    a

Authors