ABSTRACT
Formulating "a humanizing ethnomusicology," Kenneth A. Gourlay has stressed the importance of the active aspects of "an ethnomusicological dialectic" (Gourlay 1982:412). His notion of dialectic develops from a series of arguments over the stance of researchers in the ethnomusicological enterprise (Gourlay 1978:13-23). Many scholars (Berreman 1972; Blacking 1981; Blum 1975; Crick 1976; Gourlay 1978; Herndon 1974; Seeger 1971; Stone 1979; Wachsmann 1971), while questioning that stance, have decried researchers' self-exclusion from the process of research. Concepts such as Gourlay's "constraints," Seeger's "bank of ideation," and Wachsmann's "mind programmed by previous experience" suggest a concern with researcher's conceptual and perceptual frameworks.
