民族音樂學(Ethnomusicology)自西元一八八０年代，在西方正式成為一門學科。 百餘年來，音樂學者對於非歐洲藝術音樂體系之各民族音樂的研究，逐漸重視。我國當代著 名的音樂學者許常惠 (1929-) 教授，自幼即學習西洋器樂 - 小提琴 (Violin)， 成年後進 入師大音樂系，續受音樂專業訓練。他於一九五０年代留學法國巴黎期間，在民族音樂學方 面首先由夏野教授 (Prof. Jacques Chailley) 啟蒙， 再受到德布西 (Claude-Achille Debussy)、巴爾托克 (B'ela Bart'ok) 和王光祈等前輩音樂家的精神感召， 遂自西徂東， 開始轉向民族音樂學的研究。許教授於一九六０年代返國服務後，他除了教學與作曲之外， 大部分的心力都貢獻在民族音樂學方面。 他與史惟亮 (1925-1977) 教授攜手發起民歌採集 運動、鼓吹並創立民族音樂的研究中心，引發國內各界對民族音樂研究的重視。史惟亮教授 棄世後，他繼續發展民族音樂的志業。一九七０年代再組織民族音樂調查隊，促成國立臺灣 師範大學音樂研院所音樂學組的設立，培訓民族音樂研究的後繼人才。經過許教授近四十年 的努力，民族音樂學的研究終於在國內開花結果。一九九０年代行政院文建會、各縣市文化 中心等官方文化機構相繼設置；召開民族音樂學的國際會議；籌設中國民族音樂中心；傳統 音樂教學納入中小學正式課程……等皆與許教授有莫大的淵源。為更深入瞭解許常惠教授在 民族音樂學的貢獻與成就，乃進行本研院。本文將許教授在民族音樂學的成就，分為「啟蒙 」、「開拓」與「深耕」等三個階段探討。觀察許常惠教授在這三個階段的表現，可以發現 一位學者成長過程的艱辛。透過其近半世紀以來在民族音樂學方面的奮鬥史，更盼望能給後 進學者一些啟示。

　　　　　Since Ethnomusicology became an academic study in 1880s, the Scholars have paid more attention to studying non-European music gradually in the past one hundred years. The famous scholar ono music, Professor Hsu, Tsang-houei, contacted western music in childhood and had learned it as his major for a long time. When he went abroad to study music in Paris, France in 1950s, becase he was enlightened by Professor Jacques Chailley on Ethnomusicology; and then he was inspired by B'ela Bart'ok and Wang, Kuang-chi, he turned his interests to ethnomusicology. Therefore, after he came back in 1960s, he has devoted himself to studying ethnomusicology in addition to teaching and composing. Together with professor Shih, Wei-liang, he initiated the campaign of collecting folk songs, advocated establishing Chinese Folk Music Research Center and led people in various fields to value the study of ethnomusicology in Taiwan. After Professor Shih passed away, he has been keeping his application on ethnomusicology. Furthermore, he organized a Folk Music investigate team, promoted setting up Musicology Section of Graduate School of Music in National Taiwan Normal University to train the sucessors to the study of ethnomusicology. Because of Professor Hus's endeavor during the past thiry years, the study of ethnomusicology has born fruit at last. Professor Hsu has done a lot in helping set up and cultural centers in each cities and countries, hold International conference on ethnomusicology, prepare and plan to institude Chinese Folk Music Center; and introduce traditional music teaching into primary and high schools, ...etc. In order to go deep into understanding Professor Hsu's contribution and achievement on ethnomusicology, I proceed this investigation. On this article, I dicuss Professor Hsu's study in three steps-Enlightenment, Pioneer and Development. By observing his expression in three different periods, we would realize the difficulties in the growing of a scholar. Moreover, I hope that Professor Hsu's struggling for ethnomusicology in the latest fifty years will be a revelation to the succeeding learners.