During the 1960s and 70s some ethnomusicologists formed
relationships with music-makers and ritual specialists in an
attempt to interpret how they understood their musical actions.
Subsequently ethnomusicologists have studied the respects in which
explicit and implicit theory is involved in communication of
musical knowledge. They have observed the production of music
theory in institutions of modern nation-states and have sought out
groups and individuals whose theorizing is not constrained by
existing institutions. They are assessing the extent to which
musical terminologies of diverse languages can be interpreted in
relation to general concepts without imposing the assumptions and
biases of one body of existing theory. That exercise is
increasingly recognized as a necessary effort of decolonization. A
thorough yet concise introduction to this field, Music Theory in
Ethnomusicology outlines a conception of music theory suited to
cross-cultural research on musical practices.
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