The subject this article is about dates back to a long teaching experience in Montreal. I taught in a so called "research" seminar, similar to what is called, in German and English speaking countries a Proseminar, where I ask students of the master and doctorate in musicology, to read all or part of the great compositions that have marked the development of our discipline in each of its major sectors: the history of music, musical analysis, ethnomusicology, the study of pop music, sociology, cognitive psychology and the aesthetics of music. I never deal the acoustic music in an incompetent way. However, I have found over the years perplexity in students due to the disciplinary diversity, They, of course, want to specialize in one of the fields, but also in the multiplicity of methodological paradigms in each of the branches. Too often, students today do not have the philosophical and epistemological basis for understanding the variety of models and approaches in all of musicology. So I have focused my thoughts these recent years, on the reasons for this dispersion and on how to remedy it. It is not only for the sake of research in musicology, that I set out my point of view, but also to avoid educational problems.