Systematic musicology is an umbrella term, used mainly in Central Europe, for several subdisciplines and paradigms of musicology. These subdisciplines and paradigms tend to address questions about music in general, rather than specific manifestations of music.
In the European tripartite model of musicology, musicology is regarded as a combination of three broad subdisciplines: ethnomusicology, historical musicology and systematic musicology. Ethnomusicology and historical musicology are primarily concerned with specific manifestations of music such as performances, works, traditions, genres, and the people who produce and engage with them (musicians, composers, social groups). Systematic musicology is different in that it tends not to put these specific manifestations in the foreground, although it of course refers to them. Instead, more general questions are asked about music. These questions tend to be answered either by analysing empirical data (based on observation) or by developing theory - or better, by a combination of both. The 19th-century positivist dream of discovering "laws" of music (by analogy to "laws" in other disciplines such as physics; cf. Adler, 1885), and of defining the discipline of systematic musicology in terms of such laws, slowly evaporated. Ideological trends stemming from modernism and later post-structuralism fundamentally altered the nature of the project.
Since systematic musicology brings together several parent disciplines, it is often regarded as being intrinsically interdisciplinary, or as a system of interacting subdisciplines (hence the alternative name "systematic"). However, most systematic musicologists focus on just one or a select few of the many subdisciplines. Founded on the paradigms of the humanities, systematic musicologists often make reference to fields such as aesthetics, sociology, semiotics, hermeneutics and music criticism, as well as media, cultural and gender studies. A complementary set of methodologies from sciences is often employed. This is primarily empirical and data-oriented, often being influenced by approaches taken from disciplines such as empirical psychology and sociology; acoustics and psychoacoustics; physiology and cognitive science.
More recently emerged areas of research which at least partially are in the scope of systematic musicology comprise cognitive musicology, neuromusicology, biomusicology, music cognition and embodied music cognition, music technology, music information retrieval, and musical robotics.
Systematic musicology is less unified than its sister disciplines historical musicology and ethnomusicology. Its contents and methods are more diverse and tend to be more closely related to parent disciplines, both academic and practical, outside of musicology. The diversity of systematic musicology is to some extent compensated for by interdisciplinary interactions within the system of subdisciplines that make it up.
The origins of systematic musicology in Europe can be traced to ancient Greece. Historical musicology and ethnomusicology are much younger disciplines, and the relative importance of the three has fluctuated considerably during the past few centuries. Today, musicology's three broad subdisciplines are of approximately equal size in terms of the volume of research activity.