Abstract
The text aims to introduce urban ethnomusicology, an important direction in the contemporary anthropologically-oriented research into music. This direction is first set into the context of another ethnomusicological research.
After a short look into the history of urban ethnomusicology, significant theoretical conceptions, used in or usable for the research into town music, are described. These include expecially the conception of soundscape (Schafer and Shelemay), the connective structure with its two dimensions - the social and the time one (Assmann) and the conception of collective memory (Halbwachs, Kansteiner).
The last section of the text introduces how the above conceptions have been applied on Prague music material. The categorization partially inspired by the Appadurai's -scapes is used for the social dimension of connective structure.
Two lines are obvious in the time dimension (to which, in this case, music and remembering relate): the first line includes music as an object of remembering, the other one is its medium. The text is pervaded by the empirically confirmed awareness of fluidity of all borders, which is especially obvious in the today's big city.