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Related to Comparative musicology: ethnomusicologist


1. The scientific study of music, especially traditional or non-Western music, as an aspect of culture.
2. The comparative study of music of different cultures.

eth′no·mu′si·co·log′i·cal (-kə-lŏj′ĭ-kəl) adj.
eth′no·mu′si·col′o·gist n.


(Music, other) the study of the music of different cultures
ˌethnomusiˈcologist n


(ˌɛθ noʊˌmyu zɪˈkɒl ə dʒi)

the study of folk or native music, esp. of non-Western cultures, and its relationship to the society to which it belongs.
eth`no•mu`si•co•log′i•cal (-kəˈlɒdʒ ɪ kəl) adj.
eth`no•mu`si•col′o•gist, n.


1. the study of the music of a particular region or people from the viewpoint of its social or cultural implications.
2. the comparative study of the music of more than one such region or people. — ethnomusicologist, n.
See also: Music


[ˌeθnəʊmjuːzɪˈkɒlədʒɪ] Netnomusicología f
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In the 1950s Joan and McGillivray had an extraordinary collection of early wind instruments, long before interest had developed in comparative musicology.
3) Strongly influenced by the "collect and classify" paradigm of early folklore and comparative musicology (p.
Comparative musicology has the potential to contribute greatly to our understanding of the evolution of culture.
Sachs later notes that had Cowell, like Bartok, published detailed studies of his folk transcriptions, he may have also earned a place in the history of comparative musicology (p.
Such a historical examination provides a much-needed look at some of the questions of European comparative musicology, particularly in its reevaluation of Central and Eastern European models of folklore and song collecting.
Ethnomusicology, from its beginnings as comparative musicology, has always based its method on the analysis and interpretation of living cultures, with data collected from fieldwork, a method derived first from the discipline of folklore and, since the mid-twentieth century, from anthropology.
During the heyday of comparative musicology (through the first part of the twentieth century), analysis comprised something of a sine qua non of musicological studies of non-Western music.
Ethnomusicology, Comparative Musicology, Music Criticism, Aesthetics of Music, Musical Didactic, Historiography, Lexicography and Composition were just some his fields of interest.
Troutman analyzes how Indianness was constructed, represented, and managed for an American public by a coterie of non-Native agents during the formative years of interdisciplinary ferment between science, anthropology, and comparative musicology.
5) In other words, sound recording technology and the archives that held them made comparative musicology possible.
Such a remark needs to be understood in the context of its times; Grove had no doubts that the art of Bach, Beethoven, Mendelssohn, and Schubert was peerless and far superior to the music of earlier times and of other, less "civilized" parts of the world, even though by the time he was writing, the beginnings of comparative musicology were stirring in Berlin, Fewkes and others were collecting Amerindian music, and--indeed, a century earlier--enlightened British colonial officials had begun the serious, not patronizing, collection and inve stigation of Indian music.
Our new understanding has been gained largely through the radical application of the methods of comparative musicology, which have required the disconnection (put forward, albeit prematurely, by Curt Sachs) of ancient Greek music from European history: "[A] kind of music flourished .

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