Musical history research and ethnomusicology have hitherto usually been treated as separate fields. One of the reasons for this is doubtless the search for a way in which the material to be dealt with should be presented. Historical research has, as we know, to do with a body of musical fact which has been handed down through the medium of notation and therefore exists in a more or less concrete form. Non-European music and European folk music, on the other hand, are exclusively dependent upon oral tradition. To begin with, the latter does not, as Robert Lachmann once very aptly expressed it, exist for us at all. Materials must first be made indirectly tangible for us through special means, that is to say, they must be translated through recording and transcription out of the sphere of oral tradition into that of written notation. This is certainly one of the chief reasons why musical history research and ethnomusicology have hitherto gone different ways, each with its own independent aims, complexes of problems and methods.