ABSTRACT
Ethnomusicology – long considered either the poor relative of 'classical' or historical musicology or some sort of sub-annexe of social and cultural anthropology – finally stepped forward in its own right. Indeed, ethnomusicology has developed a set of analytical methods specific to the musical domain, with parameters referring as much to the anthropological perspective as to the musicological approach. As much as conceptual frames, large-scale universalistic theories have marked the development of human sciences in the twentieth century and deeply influenced ethnomusicological thought and research. Regarding the use of technological tools in ethnomusicology, these have permitted the authors to develop an increasingly refined and differentiated analysis and representation of their object of study. But, in certain cases, research seems to be more 'caused by' than 'served by' the technical possibilities of its tools. The ethnomusicologist who is willing to get his or her hands dirty has the opportunity to become actively involved in the new urban zones.
