一、名辞和定义 “民族音乐学”(Ethnomusicology)这个名辞是由牙普·康斯特(J.Kunst)启用的。在他一本书名为《音乐学:民族音乐学本质之研究、及其有关问题、方法和代表特性》(1950)中,他把“民族音乐学”放在此书的副标题里。后来的版本则定名为Ethnomusicology,将原先字中的连字符号除去。康斯特认为这个名辞比“比较音乐学”要好,因为“我们这门科学,并不比其他的科学‘比较’得更多。” 民族音乐学主要是探讨活生生的口传音乐(包括所用的乐器和舞蹈);超越城市式欧洲音乐艺术之范围。它研究的几个主题是:无文字民族的音乐(或是部落音乐);亚洲高度文化里象中国、日本、韩国、印尼、印度、伊朗和阿拉伯语系等的亚洲国家的口传音 I. Introduction and Definition The term Ethnomusicology is enabled by J. Kunst. In his book entitled “Musicology: A Study of the Nature of Ethnomusicology and Its Related Problems, Methods and Representatives” (1950), he placed “ethnomusicology” in the subtitle of this book. The later version was named Ethnomusicology, the original word hyphen removed. Const determined that this rhetoric is better than “comparative musicology,” because “our science is no more” more “than any other science.” Ethnomusicology focuses primarily on living oral music (including the instruments used And dance); Beyond the limits of urban European musical art. Some of the themes he studied were: Music without folklore (or tribal music); mouth accent of Asian countries such as China, Japan, Korea, Indonesia, India, Iran, and Arabic in a highly Asian culture