(redirected from ethnomusicological)


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.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(Music, other) the study of the music of different cultures
ˌethnomusiˈcologist n
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(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.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.


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
-Ologies & -Isms. Copyright 2008 The Gale Group, Inc. All rights reserved.


[ˌeθnəʊmjuːzɪˈkɒlədʒɪ] Netnomusicología f
Collins Spanish Dictionary - Complete and Unabridged 8th Edition 2005 © William Collins Sons & Co. Ltd. 1971, 1988 © HarperCollins Publishers 1992, 1993, 1996, 1997, 2000, 2003, 2005
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References in periodicals archive ?
As noted by editor Paul Watt, "street music is an under-developed area of research with potentially rich pickings in a variety of musicological, ethnomusicological and interdisciplinary settings." The issue features five research articles, and several reviews of books and sound recordings.
Popular Music in Southeast Asia: Banal Beats, Muted Histories is the third title published by the Leiden University research project "Articulating Modernity: The Making of Popular Music in 20th Century Southeast Asia and the Rise of New Audiences." Unlike the first two edited volumes, this book takes on the form of a popular history trade book, and reads like a compendium to the project's previous extensive ethnomusicological scholarship.
He contends that filmmakers develop and express coaesthetic understandings of music through shooting, editing, and constructing a narrative, analyzing cinematic techniques and offering perspectives through interviews with filmmakers who use their practices to understand music, and showing how making films about musicians can contribute to an ethnomusicological understanding of music.
Barzel's application of ethnomusicological and anthropological concepts propels the arguments and brings ideas into focus, rather than unnecessarily bogging them down by theory for its own sake.
Since music was an important cultural technique in ancient societies, it would make much sense to consider the results of music archaeological research in musicological, ethnomusicological, archaeological, and philological studies.
He suggests that an ethnomusicological approach to understanding this relationship can illuminate much about the construction of musical communities and affinity groups, genre, locality, and the ways in which people use music to make connections in and to their everyday lives.
He was present at the 'First International Ethnomusicological Conference' in 1932 at Cairo.
These studies could have benefitted from a stronger ethnomusicological framework.
His diverse compositional oeuvre, combining Western European modernity and the folk music as well as the music historical tradition of Hungary, and his revolutionary new ethnomusicological activity, however, became part of the musical canon almost exclusively in his country.
Manuel's book is richly illustrated with musical examples, something that we see less and less of these days in ethnomusicological publications.
In the final chapter of the book, Treloyn includes several dialogues with Rona Charles about varying perceptions of Western concepts of ethnomusicological research.
Throughout the book Sparling describes her ethnomusicological processes and shares her difficulties and dead-ends.