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Resumo

Music's ephemeral nature predisposes ethnomusicologists to embrace multiple realities. As Levi-Strauss suggests, 'music ... bring[s] man face to face with potential objects of which only the shadows are actualized' (1969:17-18). Ethnomusicologists often feel as if they are chasing shadows in the field when striving to perceive and understand musical meaning. Musical meaning is often ambiguous or liminal, inviting ethnomusicologists into a dialogue of multiple realities-a dialogue now shared by social scientists endeavoring to understand other aspects of culture. With a spirit of unboundedness, this volume focuses on chasing shadows-on field work-as a crucial link in ethnographic processes. The chapters presented engage issues in fieldwork from a stance of cultural relativism and ideological diversity while looking critically at new models for ethnography that populate this post postmodern generation, including feminist theories, phenomenology, reflexive and dialogic ethnography, and others. Drawing from established disciplines, ethnomusicology enjoys the advantages of being a flexible academic field, seemingly in a perpetual state of experimentation, that gains strength from a diversity and plurality of approaches (A. Seeger 1987a:493-94; 1992:107). In this sense, ethnomusicologists are in a unique position to question established methods and goals of the social sciences, and to explore new perspectives. These new perspectives are not just for ethnomusicologists, but also for all ethnographic disciplines.

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