Reconsidering Hornbostel-Sachs in the digital age: taxonomic challenges in virtual instrument design

Abstract

Digital musical instruments inherently resist simple classifications. Magnusson (2009) emphasizes the concept of virtual embodiment and the role of digital design as a form of composition while distinguishing these instruments from their acoustic counterparts. Zellerbach and Roberts (2022) expand this view by framing Mixed Reality Musical Instruments (MRMIs) as products of complex interactions between performers, virtual environments, and physical spaces. Works like Magnusson's (2017) proposed 'musical organic' approach offer a multidimensional, heterarchical approach that transcends traditional hierarchies. Paine and Drummond (2009) introduce the TIEM taxonomy, integrating gesture capture and interface-sound mapping to reflect real-world performance behavior. Guzmán Anaya (2023) catalogs instruments in video games both in terms of their virtual representations and functional roles, while Malloch and others (2006) adapt human information processing models to classify instruments based on performance context. The examined models converge around three key themes in digital instrument design: (1) integration of the performance context, (2) addressing interaction design parameters, and (3) adopting hybrid classifications that blend physical and digital attributes. These contributions collectively reconceptualize traditional taxonomy, centering on performance behavior, interaction dynamics, and the ambiguous nature of digital embodiment.