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  1. The name change signaled another shift in the field: ethnomusicology moved away from studying the origins, evolution, and comparison of musical practices, and toward thinking of music as one of many human activities, like religion, language, and food. In short, the field became more anthropological.

  2. Thus, ethnomusicology contrasted the field of conventional musicology where the primary focus was on Western art music. Early in its existence, ethnomusicology was known as "comparative musicology," which established Western musical traditions as the standard to which all other kinds of music were compared.

  3. In 1956 the hyphen was removed with ideological intent to signify the discipline's validity and independence from the fields of musicology and anthropology. These changes to the field's name paralleled its internal shifts in ideological and intellectual emphasis.

  4. It was known as comparative musicology until about 1950, when the term ethnomusicology was introduced simultaneously by the Dutch scholar of Indonesian music Jaap Kunst and by several American scholars, including Richard Waterman and Alan Merriam. In the period after 1950, ethnomusicology burgeoned at academic institutions.

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  6. Nov 17, 2020 · The term ethnomusicology, said to have been first coined by Jaap Kunst from the Greek words ἔθνος ( ethnos, “nation”) and μουσική ( mousike, “music”), is often defined as the anthropology or ethnography of music, or as musical anthropology. [1] .

  7. Abstract. ‘A bit of history’ charts the history of the study of ethnomusicology. The literate cultures of China and Greece generated philosophical treatises on music because they believed that music is an important cultural expression with significant cosmological, metaphysical, religious, social, and political implications.

  8. The research on musical meaning in phenomenological ethnomusicology has developed from three starting places: Ruth Stone’s analysis of time, interaction, and performance, which is inspired by the writings of Husserl ([1929] 1964), Alfred Schütz (1962, 1964; Schütz and Luckmann [1973] 1975), and the symbolic interactionists (e.g., Blumer ...