In dialogue with the fields of Music Education, the Sociology of Childhood, and Ethnomusicology, this work discusses the need to propose an Ethnomusicology of Childhood, insofar as it recognizes that children are complete individuals with an 'active role in defining their own condition’ (Cohn 2009, 21) and that, as social agents, they have the right to exercise their own voice, to be heard, and to have their perspectives considered in processes whose decisions affect their lives (James & Prout 1990; Qvortrup 2011; Corsaro 2018). This is a discussion brought by a post-doctoral ongoing resarch which emerges from Emberly’s (2014) work and from my previous studies (Fragoso 2025) among Guarani indigenous children, from Tenonde Porã Village, in São Paulo, Brazil.In Music Education, such assumptions resonate with the understanding that children engage actively, critically, and creatively with sound (Cunha 2023; Brito 2019), and with the legitimation of the sonic outcomes of children's interaction with sound as music (Brito 2019). These assumptions are currently anchored in what is being called a Music Education of Childhood, which is being shaped through the dialogue between the fields of Music Education and the Sociology of Childhood (Cunha 2023).It is understood here that listening to children's musical making can also encompass modes beyond those embedded in formal music education proposals in the strict sense In the intersection of Ethnomusicology, the Sociology of Childhood, and Music Education of Childhood, moving forward to children's musicking (in the sense proposed by Small [1998]) signifies a different kind of listening them; it means that, in research developed with and among children and/or focused on their musical practices within a specific cultural context, the children themselves should be the spokespersons of the musicking that concerns them; that they themselves are capable of present and discuss the meanings of this musicking for the community to which they belong.However, this step requires both an epistemic and a methodological shift. As a theoretical construct, an Ethnomusicology of Childhood recognizes that children are able to and should speak for themselves and about their own musicking, as well as about their respective sonic, cultural, and social territories. Methodologically, it advocates for children to be acknowledged as active subjects also in the processes related to their own musicking, that is, the musicking that concerns them or in which they are involved. Therefore, researcher’s role is to listen to children’s voicecs; the children are assured the right to be heard regarding their musicking as well1.[1] Originally written in Portuguese and translated by AI.