March 5, 2014 10:22 PM Subscribe
Since the taxonomical work of Erich Moritz von Hornbostel and Curt Sachs* in the early twentieth century, organologists have classified musical instruments into four major categories, each distinguished by its primary sound-producing mechanism: idiophones (vibrating body), membranophones (vibrating membrane), chordophones (vibrating strings) and aerophones (vibrating air columns). Beyond these basic divisions, scholars have proposed such logically consistent additions as electrophones (for electronic instruments) and corpophones (for the human body as a source of sound). We propose a seventh category: fictophones, for imaginary musical instruments. Existing as diagrams, drawings or written descriptions, these devices never produce a sound. Yet they are no less a part of musical culture for that. Indeed, fictophones represent an essential if hitherto unrecognized domain of musical thought and activity, and it is in order to catalog these conceptual artifacts that we have established the first institution of its kind: The Museum of Imaginary Musical Instruments.
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