O encontro foi constrangedor. Ela ficou de cabeça baixa esperando ele se aproximar. Ele não veio, faltou coragem, e ela, então, se foi.
王家衛
花樣年華
(In the Mood for Love; Amor à Flor-da-Pele)
(...) Although they may wish to study their subject dispassionately, they are in the end often unable to avoid the results of extended contact with humans and their works in a foreign society. They try to bring an understanding of their musics to their own society, believing that the teaching of their subject will in a small way promote intercultural - maybe even international - understanding, that it will combat ethnocentrism and build respect for the traditions of the world`s societies. Intelectually neutral in their quest for knowledge of musical cultures, they nevertheless have a passion for showing that the music of the oppressed people of the world, of lower classes in rigidly stratified societies, of isolated, indigenous, technically developing peoples, is something innately interesting, something worthy of attention and respect - indeed, something truly magnificent. These attitudes are not a prerequisite of graduate study or a teaching position, not part of the definition of the field; and they are surely also found among members of other professions. But there are few ethnomusicologists who do not share them.