二十一世紀音樂研究的新議題之一包括「民族音樂學」（Ethnomusicology）學科的重新命名（renaming）。事實上，關心新世紀音樂研究的學者應該瞭解到，百年前民族音樂學脫離歐洲的「音樂學」（musicology）成為獨立的學術，經過一個世紀的發展，如今又有重新回到「音樂學」學術主流的傾向，這是因為民族音樂學的研究範疇、對象與訓練方法不斷擴大、增強和變遷的自然結果。民族音樂學是否應重新命名固然是新世紀音樂研究的重要議題，但是它「驀然回首」的過程，更應該得到音樂學者們普遍的瞭解。其次，美國的民族音樂學研究在五十年前執意脫離歐洲本位的範疇與方法，不墨守成規，因應發展出許多新觀念與方法之後，終能將民族音樂學的發展推向上一世紀的最高峰，成為發展最蓬勃的一門學科。在此同時，亞洲音樂學者在新世紀「全球化」趨勢中，既是局內人，又是局外人的研究，難道不應思考如何避免航海時期以來歐洲本位主義的主觀與錯誤，認清亞洲音樂文化藝術與西方藝術在本質與特色上的差異，從研究的方法上獨立、反映出來？換言之，在那就是它應該具有為全世界各洲的各個傳統文化應該重視自身獨特文化的研究與思考。我們不否認西方開放的跨學科的研究方法仍將是必備的訓練，面對新世紀各種新的理論議題衝擊，也是促使民族音樂學突破與進步的途徑之一，但是全球二十億人口的亞洲，各地區擁有許多珍貴的音樂與文化傳統，又怎能整個世界都圍繞著西方思想活動？！雖然本文並未直接提出民族音樂學在二十一世紀面臨「重新命名」的答案，但是掌握民族音樂學發展與變遷的重點，從亞洲音樂研究者的角度，關注音樂文化「所有權」的問題，重新思考音樂學研究的對象、範疇、方法與態度，正是為面對新世紀各種重要議題，與促進民族音樂學在臺灣的研究發展最好的準備。

　　　　　Renaming ethnomusicology is a new issue of the music research in the 21(superscript st) century. In fact, the scholars who are interested in the music research in the new century should understand that the ethnomusicology which has been independently developing since it departed from the European "musicology" hundred years ago, tends to return to the main stream of "musicology", due to enlargement, enhancement and changes of the ethnomusicology in the research domain, objects and disciplines. Whether ethnomusicology should be renamed or not remains an important issue, but the temptation to look back the past deserves the musicologists and the scholars to discuss objectively the relevant subjects. Fifty years ago the ethnomusicology research in the United States departed from European domain and methodology. Being not restricted by old methods, the American scholars have developed many new concepts and methods, resulting in promoting the development of the ethnomusicology to new plateau. It thus becomes the most prosperous discipline. At this time, while the Asian musicologist is facing globalization trend, can they not think how to avoid the European subjectivity and error brought to Asia during the sailing time, not recognize the difference in essence and trait between Asian and Western cultures, not seek to be independent of the European methodology? In other words, if the development of the open Western knowledge and methodology is convincible then it should be opened to all traditional cultures of all the people around the world. We do not deny that although many new theories are emerged in the new century the Western open, interdisciplinary and scientific ethnomusicology remains requisite for training and brings breakthrough and progress to the study of the ethnomusicology, but we must emphasize that the Asia, with its two billion population and many precious music and cultural heritages, should have its own ethnomusicology independent of the Western. There is no direct answer to the renaming issue is provided in this paper, but the key points to focus on the development and changes of the ethnomusicology, to care about the music "ownership" from the Asian music researcher's point of view, and to rethink about the object, domain, method and attitude of the musicological research are contemplated, so that all the important subjects in the new century can be properly treated and the readiness of promoting the ethnomusicology in Taiwan can be achieved.