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At first glance, the study of ethnomusicology would seem to be anti-canonical in its essence. As a field of study (if not as a discipline), it has certainly challenged the notion that only selected repertories--most usually the historic "classical" musics of Europe, but also "classical" musics in general--merit systematic and categorical inclusion in research and teaching programs.
As programs in ethnomusicology have developed and the related matters of publication and curriculum become institutionalized, however, at least in North America, patterns have emerged that might be viewed as "canonical." As patterns indicative of intellectual history, if not ...