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1、CurtSachsasatheoristformusicmuseologyFlorenceGétreauInstitutderecherchesurlepatrimoinemusicalenFrance(CNRS),ParisFororganologists,CurtSachs(1881–1959)remainsoneofthefoundersoftheirdiscipline,mainlyduetohisclassificationofmusicalinstruments.Thesystemtha
2、theestablishedwithErichvonHornbostelin1914is“logicalaswellasuniversal”.“Hornbostel’sandSachs’sscheme—writesMargaretJ.Kartomi—hashadthemostuseandthegreatesteffectofanyclassificationofinstruments”duringthelastcentury,evenif“useoftheschemehasmostlybeenlim
3、itedtoitsupperonetothreestepsofdivision”.Ontheotherhand,“itsadoptioninmuseumshasbeennowherenearaswidespreadasthatofDewey’sschemeinlibraries”.Evenifthisuniversalsystemisstronglyinfluencedbytheevolutionarythinkinginboththesciencesandthehumanitiesoftheend
4、ofthe18thcenturyandthe19thcentury,Kartomiremindsusthatitservedwithgreatefficiencyasa“conceptualframeworkforcross-culturalcomparativepurposesintheirownwritingsandtoremedythestillsomewhatchaoticstateofinstrumentcollectionsinmuseums”.1Amongmanyattemptstof
5、urtherdeveloporrevisethisscheme,thecollectiveworkdoneovertheyearsbytheComitéInternationaldesMuséesetCollectionsd’InstrumentsdeMusique(CIMCIM),abranchoftheInternationalCouncilofMuseums(ICOM),hadnorealeffectiveissue.Onthecontrary,theHornbostel-Sachssche
6、meseemstoretainitsstrongposition:In1993itwasdiscussedbyKlaus-PeterBrennerinthecontextofevolutionarythinkinganditsroleinorganology,3andin1994,PeterSimonpublishedanewanalysisoftheschemeandatableforit.4Finally,inthefieldofmusiciconography,RIdIM’sCommissio
7、nMixtehasrecentlyunanimouslyconfirmeditsacceptanceasthe303mostusefulclassificationforinstruments.51MargaretJ.Kartomi,Onconceptsandclassificationsofmusicalinstruments.Chicagostudiesinethnomusicology(Chicago;London:TheUniversityofChicagoPress,1990)171,16
8、8.SeeClaudieMarcel-Dubois,“Rapportdugroupedetravail‘Problèmesdetypologieetdeclassificationenorganologiemusicale’”,CIMCIMnewsletter10(198)–3;11(1983)40–5;13(1987)3;14(1989)10–11.3Klaus-PeterBrenner,“BemerkungenzumEntwicklungsgedan