<P> Throughout this decade, the tensions regarding comparative approaches continued to come into question in ethnomusicological circles . The introduction of Alan Lomax's system of cantometrics in the late 60s accounted for physical traits of vocal production like language / utterance, the distinctness of "singing voice" from speaking voice, use of intonation, ornamentation, and pitch, consistency of tempo and volume, and the length of melodic phrases, and also the social elements like the participation of the audience and the way a performance is structured; in this way, it intended to make the data of ethnomusicological research more quantifiable and grant it scientific legitimacy . However, the system also legitimized comparative methods, thus extending the debate regarding the ethics of a comparative approach . </P> <P> The 1980s ushered in a heightened awareness of bias and representation in ethnomusicology, meaning that ethnomusicologists took into consideration the effects of biases they brought to their studies as (usually) outgroup members, as well as the implications of how they choose to represent the ethnography and music of the cultures they study . Historically, Western field workers dubbed themselves experts on foreign music traditions once they felt they had a handle on the music, but these scholars ignored differences in worldview, priority systems, and cognitive patterns, and thought that their interpretation was truth . This type of research contributed to a larger phenomenon called Orientalism ." </P> <P> It was also during that time that Clifford Geertz's concept of thick description spread from anthropology to ethnomusicology . In particular, ethnomusicologist Timothy Rice called for a more human - focused study of ethnomusicology, putting emphasis on the processes that bind music and society together in musical creation and performance . His model follows Alan Merriam's identification of the field as "the study of music in culture ." Rice puts more focus on historical change as well as the role of the individual in music - making . In particular, Rice's model asks "how do people historically construct, socially maintain and individually create and experience music?" In addition to presenting new models of thought, Rice's ideas were also meant to unify the field of ethnomusicology into a more organized, cohesive field by providing an organized series of questions to address in the course of research . </P> <P> Another concern that came to the forefront in the 1980s is known as reflexivity . The ethnomusicologist and his or her culture of study have a bidirectional, reflexive influence on one another in that it is possible not only for observations to affect the observer, but also for the presence of the observer to affect what they observe . </P>

The four phases of the work of an ethnomusicologist are (please place in the correct task order)