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4 results for “Faceted classification”
Brian Vickery and the Classification Research Group:the legacy of faceted classification
<p>This paper considers the impact of faceted classification as it developed in the United<br> Kingdom; it examines the origins of the Classification Research Group and Brian Vickery’s<br> unique contribution to it, and the way in which faceted classification today has fulfilled<br> the objectives of the CRG’s 1955 manifesto to make ‘faceted classification the basis of all<br> information retrieval’.</p>
Comparative modeling of Vickery's faceted classification and the œuvre of S. R. Ranganathan...
<p> In an effort to make sense of both Ranganathan’s work and Vickery’s we modeled the<br> process involved in classification using the IDEF0 (Integrated Definition for Function<br> Modeling) formalism. This allows us to see five distinct parts of the classification process:<br> actions, inputs, outputs, mechanisms, and constraints. </p>
Facet classification: Exploring the boundaries between theory and methodology
<p>Although facet analysis is a long established approach to information organization, and 'it has dominated what has be termed "modern classification theory"', doubt has been cast on whether it is a true theory of information science, or merely a sophisticated methodology for its organization and management. The paper will examine the extent to which a case can be made for the theoretical validity of facet analysis, and, to a lesser degree, what features distinguish classification research proper from a strictly practical process of compiling subject retrieval tools.</p><p>Although it can be argued that facet analysis is to a degree pragmatically derived, it is based on logical principles, and the structures created by it can be represented in formal languages; that characteristic, and Ranganathan's mathematical education and mode of thought, give it some credibility as a scientific theory. </p><p>Nevertheless the basis for the identification and selection of fundamental categories is more intuitive, and it has elements in common with social science research tools, such as grounded theory. The relationship between faceted classification and grounded theory has already been discussed, but without reference to contemporary interpretations of facet analysis, which will be examined here. The use of classification as a form of content analysis which helps to expose theory in other domains has also been explored and it seems profitable to take further the idea that a methodology of this kind is necessarily a theory in its own right.</p>
Faceted music: towards a model of music classification
<p>The organization of music is a subject that has fascinated classification researchers and librarians alike for over a hundred years. This paper identifies five key methodological approaches undertaken by commentators on music knowledge organization, which<br> demonstrate different interdependent relationships between musicology and classification. Five significant themes form the main body of this paper, and these themes underpin the corpus of music classification literature. The first theme concerns the question of whether classification should divide music materials into their constituent formats. This division sets conceptual against practical. The second theme looks at facets in music classification. ‘Medium’ and ‘form’ are considered to be the most important facets for music scores; ‘composers’ are an important facet for music literature. The third theme considers the poor treatment of ‘other’ musics in knowledge organization, and notes some possible explanations. The fourth theme investigates the relationship between the classification and retrieval of music materials. This section highlights the differing needs of users and suggests how the classification of music materials is adapted accordingly. The fifth theme discusses pre-existing music classification schemes, with the large number of home-grown and special schemes highlighted. <br> The paper concludes that the five identified themes point towards a model of music classification. However, the model is not just concerned with facets, musics and formats; it is also based upon the relationships between various sets of protagonists, such as the<br> librarian and the musicologist, the musicologist and the performer. Through studying these protagonists, the traditional boundaries of musicology, music librarianship and knowledge organization will be crossed.</p>
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