ABSTRACT
Modern ethnomusicology is signified by certain canonic approaches to the study of and writing about musics, which ethnomusicologists wish to understand in and as culture. Ethnomusicology courses, both in the UK and Germany, frequently contained studies on the historical development of the discipline of ethnomusicology. American-derived ethnomusicology, by contrast, has emerged in opposition to comparative musicology. European ethnomusicologists often emphasised and acknowledged the 'hidden voices' that contributed to the development of ethnomusicology, whilst criticising their absence in the ethnomusicological discourse. Ethnomusicologists often advocated that 'ethnomusicology is what ethnomusicologists do', and in their research, ethnomusicologists often use active participation both as listeners and makers of music, whilst stressing the experiential portion of the ethnographic process. Direct participation in music making often complemented the more theoretically-based listening to ethnomusicology. Providing a concise overview to draw comparisons, Jonathan Stock wished to avoid the danger of transmitting an American-centric historical perspective one thnomusicology.
