音乐影像志作为一门新兴学科，其理论不断被建立、发展、更新的历史就是学科建立并完善的历史。音乐影像志既是随着影像民族志和影视人类学的发展从中细分出来的一个学科，也是民族音乐学田野调查与民族志书写方式和手段不断发展、不断创新的必然产物。

第一章立足于音乐影像志学科“出身”，分别对国外和国内音乐影像志学科发展进行回溯，对从影像民族志中细分出的音乐影像志进行溯源，厘清二者的渊源关系，对其中具备共性的争议问题进行梳理总结，完成“音乐影像志”的学科转向和话语体系建构。

第二章以音乐民族志书写方式的变迁为切入点，梳理音乐民族志经由文字、静态图像，向动态影像过渡的历史，总结文字、图像、影像三者各自的优劣及互补关系，从中建构音乐影像志的合法性。同时从影像制作流程和影像细节处理两个方面，将影像民族志、音乐影像志与音乐类纪录片三者进行异同比较。

第三章从宏观着眼，对音乐影像志的叙事方式进行分析，探讨不同的观察视角和表述方式对影像文本呈现与解读的影响，主体互视、双视角观照、跨文化的交流与对话如何促成了“反思性”音乐影像志，如何处理“真实”和“美学”二者之间的关系，如何平衡影像中的“记录”与“表达”等问题，并围绕自身的田野调查，从实践层面对音乐影像志叙事过程中所涉及的关键问题进行简要分析，从中提炼音乐影像志叙事的理论与方法。

第四章从微观入手，围绕音乐影像志中具体的叙事要素——视听语言展开，并以具体的音乐影像志作品为案例，对其中镜头语言、声画关系等进行分析，从中探求音乐影像志叙事的规律，并围绕自身的田野影像实践对此进行互证。

As an emerging discipline, the history of Music Ethnographic Film is the history of the establishment and improvement of the discipline as its theories are continuously established, developed and updated. It is also the inevitable product of the continuous development and innovation of ethnomusicological fieldwork and ethnographic writing methods and approaches.

Based on the "origin" of the discipline of Music Ethnographic Film, chapter 1 retraces the development of the discipline of Music Ethnographic Film in foreign and domestic countries respectively, traces the origin of Music Ethnographic Film subdivided from video ethnography, clarifies the relationship between the origin of the two, sorts out and summarizes the controversial issues in common, and completes the disciplinary shift and the construction of the discourse system of "Music Ethnographic Film".

Chapter 2 takes the change of music ethnography as the starting point, compares the history of music ethnography through text and static images to moving images, summarizes the advantages and disadvantages of text, images and videos, and constructs the legitimacy of music ethnography from them. At the same time, we compare the similarities and differences between video ethnography, music ethnographic film and music documentary from two aspects: video production process and video detailing.

Chapter 3 analyzes the narrative style of music video logs from a macro perspective, exploring the influence of different observation perspectives and expressions on the presentation and interpretation of video texts, how the inter-viewing of subjects, dual perspective viewing, cross-cultural communication and dialogue contribute to a "reflective" music video log, how to deal with the relationship between "truth" and "aesthetics", how to balance "recording" and "expression" in video, and other issues, and briefly analyzes the key issues involved in the narrative process of music video logs from the practical level based on his own field research, and distills theories and methods of music video log narratives from them.

Chapter 4 starts from a microscopic perspective and focuses on the specific narrative elements in music video logs——the audio-visual language, and uses specific music video logs as case studies to analyze the camera language, sound and picture relationships, etc, in order to explore the laws of music video log narratives and to inter-evaluate them in the context of one's own field video practice.