An Instrumental Approach

Disclaimer:

This is an attempt to classify all music according to the Instrumentation Types.

I love music, and was once able to read musical notation (in base clef), but I make no claims to any expertise in comparative ethnomusicology. I suspect that many of the musical terms in this block should cover broader (and probably different) musical genera. This is an attempt to simulate an ocean with a teacup of salty liquid.

I am sure that there will be major global musical styles that will be completely missing or misrepresented within this design, but I think that in these non-life-threatening cases, it is better to make some initial attempt at classification than it is to remain small, still and silent.

Introduction

We live in an age where great music is readily available. Those of us who love music often have substantial collections where exemplary pieces get buried or misfiled and are seldom played. Furthermore, the overwhelming variety of music now available actually inhibits the ability of any individual to become truly familiar with more than a fractional selection.

If all styles of music could be arranged in a single hierarchy, without regard to the arbitrary commercial, social or nationalistic barriers that currently divide them, individuals could find and explore musical genres that might otherwise elude them and organize their own musical collections in a more open and intuitive way.

This is an initial attempt to define that independent hierarchy.

This design uses the following eight Types:

These Types are based primarily on the structure of the music itself and not on the artificial categories found at your local "record shop" (which is probably a menu at a website these days). The one concession in this design to the external forces of the global audience is Popularity.

Since music is a branch of art and art is boundless, it is possible to create musical works that lack all of these types. Unless you are John Cage however, it is unlikely that you can create a musical work that lacks all other types and still has Popularity.

Major Themes:

Melody

This is what most people will attempt to whistle when they are describing a song. Many songs can have the same rhythm and base line but be considered unique simply because their Melodies differ.

It is possible to have multiple simultaneous Melodies (as in 'rounds' or 'fugues'), but a single strong Melody is much more common (however, see Counterpoint below).

Lyric

What the song expresses. A Lyric need not always be stated in words to create a mental or emotional state. Many instrumental works (no pun intended) eloquently express confusion, wonder, joy, sadness or anger.

The Lyric adds a dimension that is not apparent from a purely mechanical view of the notes played.

Motif

A repeated theme. The Motif (in this design) is a pattern that the music follows without regard to the Melody or Lyric of the song. This includes what most people think of as the 'style' or the 'form'. A samba or a waltz are two examples of musical styles that have well defined structures, rhythms and (therefore) Motifs.

People may become offended if a beloved tune is performed with an altered Motif. Musicians who are successful with a Motif other than the one that made them famous are sometimes called crossover artists.

Popularity

This represents the shadow of the general perception of the percentage of humanity who allegedly might not enjoy listening to this work. Popularity only works if you believe in it (like fairies or the International Monetary Fund)

Popularity is in the 'chaos' spot because it represents the seemingly arbitrary market forces that determine if a given piece of music will be an acknowledged artistic or commercial success. A lack of Popularity may dissuade you from listening to music which would actually enhance your current mental, emotional or somatic state.

Minor Themes:

Chord Progression

Counterpoint

The part of the music that 'opposes' the Melody.

Harmony

The part of the music that supports the Melody.

the Harmony follows the Melody closely and fills out the chordal structure to help create a mood.

Tempo

The beat. Tempo is more than just the speed of the music, it also encompasses the overall rhythm and supports the Motif. Tempo underlies everything that we normally think of as 'music'. Tempo is the stepping stone to and foundation of musical composition.

Rhythm is the elaboration of the Tempo according to the dictates of the Motif.

This block would require the Art and Leisure laths. That would put it somewhere in the #09 Specialization area.

The terms are organized into four tables, each containing four sub-tables (or banks) which consist of sixteen cells. Each cell contains a term,  command, a keyword or a link depending on usage.  The headings before the four tables below and the (unique) element combinations that define each sub-table's purpose show the Major divisions. The four dark rows within each table separate the the sub-categories or banks and contain the (repeating) four Minor element combinations that define the meaning of each individual cell.

This design only shows positive terms. Negative terms would be the opposite of each 'passive' term listed below. If the term is 'active', the negative form will invoke the function or be used to capture the state or current Value.

Cell #00 contains the name of this block of terms, it is used to create the Specialization "Table of Contents". If you select cell #00, you will lock-in this block of terms and you will need to unplug Command Mode to exit, even if these terms aren't commands. I can't think of a reason to select cell #00 that doesn't involve using the Table of Contents to lock-in this block of terms, so I don't see this as a problem.

The "Basic" sub-table is the default because that is where the most common terms should reside. These are the "Left Hand Only" indices (#0[0-F]). The "Right Hand Only" indices are the first (#[0-F]0) terms in each sub-table. Notice also that '5' and 'D' are the most awkward finger combinations so they are used for less critical events (ideally).

A Scored Arrangement

The 255 terms below attempt to equitably cover all types of 'music'. It is important to remember that these terms should represent musical categories and not individual works. In other words, the Canon in D by Johann Pachelbel is a specific work, but a canon is a category of musical works.

Percussion:

The first table does not have either the Lyric or Melody Types. This table contains music with dominant rhythmic elements.

The Basic sub-table contains generic forms and umbrella styles that are commonly used.

Vocal:

Instrumental:

Narrative: