Abstract
The author offers a theoretical model for the ethnomusicological investigation of musical rememberance, which is conceived here primarily as collective. Its starting points are a) Assmann's concept of the time dimension of connective structure (which is one of the building blocks of collective identity); b) the understanding of rememberance as constructed and rooted in the present; c) the basic ethnomusicological premise as a morror, as ell as co-creator of social reality.
Existing research signalizes two basic modalities of collective rememberance: nationwide modalities, and modalities specific for different cultural cohorst. This finding corresponds (with certain exceptions) to the concepts of other authors (Turino, Assmann).