For example, the piano has strings, but they are struck by hammers, so it is not clear whether it should be classified as a string instrument or a percussion instrument. Keyboard instruments do not fit easily into this scheme. However, it looks more like a woodwind instrument, and is closer to one in many ways, having finger-holes to control pitch, rather than valves. The serpent, for example, ought to be classified as a brass instrument, as a column of air is set in motion by the lips. Many instruments do not fit very neatly into this scheme. Classical musicians today do not always maintain this division (although plucked strings are grouped separately from bowed strings in sheet music), but distinguish between wind instruments with a reed ( woodwinds) and those where the air is set in motion directly by the lips ( brass instruments). The scheme was later expanded by Martin Agricola, who distinguished plucked string instruments, such as guitars, from bowed string instruments, such as violins. It is of Greek origin (in the Hellenistic period, prominent proponents being Nicomachus and Porphyry).
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The modern system divides instruments into wind, strings and percussion. Augustine (4th and 5th centuries), in his De Ordine, applying the terms rhythmic (percussion and strings), organic (winds), and adding harmonic (the human voice) Isidore of Seville (6th to 7th centuries) Hugh of Saint Victor (12th century), also adding the voice Magister Lambertus (13th century), adding the human voice as well and Michael Praetorius (17th century).
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The many various approaches examine aspects such as the physical properties of the instrument (shape, construction, material composition, physical state, etc.), the manner in which the instrument is played (plucked, bowed, etc.), the means by which the instrument produces sound, the quality or timbre of the sound produced by the instrument, the tonal and dynamic range of the instrument, the musical function of the instrument (rhythmic, melodic, etc.), and the instrument's place in an orchestra or other ensemble.Ĭlassification systems by their geographical and historical origins European and Western Ģnd-century Greek grammarian, sophist, and rhetoritician Julius Pollux, in the chapter called De Musica of his ten-volume Onomastikon, presented the two-class system, percussion (including strings) and winds, which persisted in medieval and postmedieval Europe. The criteria for classifying musical instruments vary depending on the point of view, time, and place. 2.2.3 Classification by geographical or ethnic origin.2.1.1 Mahillon and Hornbostel–Sachs systems.2 Classification systems by their geographical and historical origins.The most commonly used system divides instruments into string instruments (often divided into plucked and bowed), wind instruments (often divided into woodwind and brass), and percussion instruments with modern classifications adding electronic instruments as a distinct class of instrument however, other schemes have also been devised.
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Throughout history, various methods of musical instrument classification have been used by musicians & scholars. For example, a classification based on instrument use may fail when applied to culture which has a different use, or even multiple uses, for the same instrument. Such classification schemes often break down when applied outside of their original context. Most methods are specific to a particular cultural group and were developed to serve the requirements of that culture and its musical needs. In the study of musical instruments, organology, there are many different methods of classifying musical instruments. Variety of recorders from Martin Agricola's 1529 Musica instrumentalis deudsch (Instrumental Music in German)