ABSTRACT
As we begins to look at the first theoretical area that ethnomusicologists employed in the post-World War II era, a word about the makeup of theories in ethnomusicology is appropriate. A student in one a Paradigms in Ethnomusicology class remarked one day, “There are few orientations that are ‘pure’ in ethnomusicology.” Indeed, aspects of what are described as a theory in ethnomusicology are often employed in conjunction with other theories.
