E thnomusicology has long occupied what might be termed a "liminal"space among the disciplines. Triangulating between the arts, humanities, and the social sciences, ethnomusicology has long held the ambiguous, middle ground between historical musicology and anthropology. If anthropology provided the methodological tools for musical ethnography, a heterogeneous world of musical performance contributed the sounds, settings, and significances that ethnomusicologists have sought to document and understand. Yet while ethnomusicology absorbed theories from across the disciplines, ethnomusicologists in North America have continued to find their most secure institutional homes not within departments of anthropology, linguistics, cultural studies, or as area specialists, but within schools of music and music departments. Finally, while questioning power inequities within the societies they study and interrogating their discipline's colonial roots, ethnomusicologists have continued to pursue studies of "other" musics-musical traditions that in some way stand outside the world of the Euro-American classical tradition, whether these boundaries are defined by geographical origins, transmission patterns and technologies, or socio-economic positions. In the following essay, I would like to offer a preliminary ethnography of the early music movement, drawing from it what I hope are useful insights into the collapsing musical boundaries in our changing world and the new agendas that might unite musical scholarship through a shared pedagogy and practice of musical ethnography. To this end, I will preface my case study with a brief disciplinary overview and return to this broader perspective in the conclusion.'
? 2001 by the Board of Trustees of the University of IllinoisIn an introduction to a special issue of the Journal of the American Musicological Society (JAMS) published in 1995, Regula Qureshi discussed the relationship between anthropology, history, and a broader musicology that includes ethnomusicology. Qureshi characterizes the "anthropologizing of music history," the primary and most productive relationship to date of anthropology and historical musicology, as beginning with "a recasting of the musical product into the realm of experience" (Qureshi 1995:335). The four essays that follow Qureshi's introduction interrogate music in culture through highlighting the notions of "dialogue, de-essentializing, and difference" (Qureshi 1995:339). Indeed, the specialJAMS issue builds on historical musicology's growing engagement with a range of anthropological theories that have served to enliven and enrich the musicological palette, forecast earlier in writings by Tomlinson (1984) and Treitler (1989).Ethnomusicologists, of course, have drawn freely on anthropology; indeed, they have spent much of the second half of the twentieth century trying to remake their own discipline in its image. To note just a few milestones, one might cite Merriam's Anthropology of Music (1964), Alan Lomax's Cantometrics (1976), Timothy Rice's remodelin...
