Ethnomusicology today is an area of study caught up in a fascination with itself. Although its roots can be traced back some eighty years, and its origin perhaps even earlier, it is only within the past ten or fifteen years that, under the impetus of younger scholars who had brought to it new concepts of theory, method, and application, it has taken a sudden forward surge. The result has been a new awareness of its obligations and an internal probing for a real understanding of what it is and does and the purposes toward which it is directed.