This article surveys theoretical contributions to the discussion of problems and developments of the major and basic ethnomusicological pillar that is transcription. It also summarizes issues raised at a recent meeting of the European Seminar in Ethnomusicology. Ideas and practices that are pro-and anti-"faithful," or microscopic, transcriptions are analysed, and the possible pluses and minuses offered by computer programs mentioned. Yet, the major concern here revolves around the ignored aspect of ideology, and so this paper puts forward a critique which revisits and questions our view of transcription from the perspective of both its first grounds and multidirectional ultimate meanings. In the light of a postmodern critique, what was traditionally conceived and performed as open method is now tackled and discussed as covert ideology. In the end, the issue of transcription is revealed as one of the gates musicology and musicologists set up to act, unwarily but efficiently, as makers of a specific politics—the politics of ethnomusicology—which is similar to other ideological and political processes.
The World of Music is an international peer-reviewed journal seeking a critical understanding of performing arts and cultural practices involving music, dance and theater worldwide, as well as the many contexts in which they come into being. In this, it provides scholars from a multiplicity of academic backgrounds a forum for the discussion of musics from around the world, their dynamics and their many meanings, manifested in a variety of ever changing forms ranging from highly particular and localized systems of musical thinking in traditional musics to global (musical) cultural flows and consumption. The World of Music -embraces a wide variety of approaches to the analytical study of the musics of the world, including indigenous methodologies, post-colonial, critical and queer perspectives and different indigenous methodologies. -thinks across disciplinary boundaries; and -strongly encourages theoretical and methodological reflections on the study of the musics of the world. Each issue focuses on a specific topic. In a firmly established practice of The World of Music, high-profile guest editors are invited to design issues and see them through the entire preparation process.