Understanding world hearings aural world views, if you will, in which music is the funnel through which we make sense of the world, is the central quest of cultural musicology. Cultural musicology, which integrates methods and approaches from ethnomusicology, the anthropology of music and new musicology, can be understood both as the cultural analysis of music and the musical analysis of culture. The Music and Culture research project contributes to the ASCA constellations Globalization, Identities and Mediality. Studying music in its cultural frames on a potentially world wide scale and focusing on the present and its recent history necessarily brings with it a distinctly postcolonial perspective. European music was propagated in large parts of the world, sometimes eradicating indigenous music, in other cases leading to hybridizations and generating new forms. But contemporary musickers around the world, in both classical and popular traditions, also have engaged with Other music on a large scale. As such, musical ideas travelled and created new meanings, much like the Travelling Concepts of Mieke Bal. In cultural musicology music has often been studied as a means of identity construction. It is rather obvious that Irish and Polish people around the world revel in making (imagined and invented) music that furnishes them with a cultural comfort zone. But how are identities constructed in a cultural in-between? As a corollary of the postcolonial cultural flows and hybridization the emergence of new identities in music is a second focus of music and culture. Finally, music is necessarily mediated, primarily through the musicker (including the listener and his body), and secondly through all sorts of records; written scores, wax cylinders, shellac discs, radio, LPRs, magnetic tapes and cassettes, television, CDs and the internet. In the twenty-first century music cultures heavily rely on these technologies and many new music cultures depend entirely on them, existing without a live counterpart. Summarizing, the project Music and Culture investigates the interactions and negotiations of local and global cultural flows, paying special attention to the construction of identities and the mediation of hybridizing processes leading to the emergence of new meanings in new world hearings as a result of music s travels. The project draws on a large variety of methodologies, among them live research, historical methods, music theory, musical practice, acoustics, physics, performance and digital humanities. As such it relates to the three priority areas of Humanities research at Amsterdam University. Understanding world hearings, knowing culture through music, cannot be realized through a confined Eurocentric approach that was the hallmark of comparative musicology and largely also ethnomusicology. The different musico-logicas of the world therefore play a salient role in cultural musicology. Analyzing music around the world with the tools of European musicology, with its heavy reliance on transcriptions in staff-notation simply will not do. Not only must indigenous methodologies be applied, but in addition the development of new methods of analysis through negotiations between music cultures will be necessary.