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FTX-787 - THE WORLD ENCOMPASSED - 8 CDs - vol 7

THE OVERALL ORCHESTRAL RHYTHM (13)

01. OneBeat. S. America, Interior Amazonia. The simple tribal structure of the Campa Indians who live in small, non-stratified, non-centralised communities (fishing, hunting, and cultivating with digging sticks) is the typical context for one-beat rhythm in the orchestra. One drum and then a second joins in with an overlaid syncopated effect. (Tschopik, B7) - 1'02"

02a. OneBeat. E. Asia, Japan. Buddhist monks chanting morning prayers to a one-beat accompaniment on a wooden gong. One-beat often turns up in ritual contexts of complex societies, but infrequently elsewhere. (Haring #1, A2) & 2b OneBeat. Campa women celebrating the manufacture of manioc beer. (Tschopik, B7) - 1'03"

03. Demo. Throughout this item and the following tracks, Roswell Rudd demonstrates the beat patterns on the bongo and there is also background speech up to #13 - 0'20"

04. Simple. Malaysia, Molucca, Aru Island. Dobo tribesmen playing slit drums and a gong in unison to a simple four-beat meter. (Kunst & Lomax, A7) - 0'22"

05. Simple. Malaysia, N. Phillippines. Hanunoo sing and play portable ins truments- the Sit-git (fiddles hardly bigger that your hand) and the kalutang (two sticks held in The-hand and manipulated so as to make a three-note xylophone. (Conklin, B 3) - 0'30"

06. Simple. N. America. Cajuns (the French-speaking bayou-dwellers and rice farmers of S.W. Louisiana) have developed a distinctive regional dance music of which this waltz is a flavorsome example. Fiddle with guitar. (Bonstein, B1) - 0'36"

07. Simple. Equatorial Africa. Mboko villager with a mouth bow. (See Line 11, #3 for description) (Didier, A5) - 1'02"

08. Complex. Australia, N.W. Arnhemland. The didieridu,. a long trumpet, made of a tree branch hollowed out by white ants and trimmed for blowing by the player, requires enormous expertise (such as circular breathing) on the part of the performer. Male solo with didjeridu and sticks. (West, A3) - 0'44"

09. Complex. (5/4) Africa, W. Sudan. A Dogon healing song picked out on a harp-lute. (Calame-Griaule & Calame, B6) - 0'38"

10. Rhythm on sticks - 0'14"

11. Complex. (7/8) The Balkans, Bulgaria, Pirin. A Macedonian Horo, one of the ancient choros, or line dances known to plough agricultural villagers from Morocco to Tibeto-Burmaland, is here played by two Muslim gypsies on plucked lute and drum. (Lloyd #1, A8) - 0'42"

12. Complex. Middle East, N.E. Afghanistan, A similar rhythm played on a clay calyx-shaped drum comes from Badakchan in the Hindu Kush, where Tadjiks cultivate their irrigated mountain valley farms. (Delapraz, B5) - 1'11"

13. Irregular. N. America, Laguna Pueblo. The leg-bells of. the dancers produce an irregular meter in unison to match the rhythm of the unison chorus. (See Line 3, #9) (Superchief, A) - 1'07"

14. Repeat of #13 (without counting) - 0'50"

15. Irregular. Australia, Arnhemland. Sticks accompany the didjeridu. It plays in unison with the singers with a terraced melody to an irregular meter, in unison with each other. (West, A6) - 1'21"

16. Irregular. C. America, Honduras, Valle. Two guitars (European) playing a waltz European) in irregular meter (Amerindian) in rough unison (also Amerindian). This is a frequent mestizo-American pattern. (Smith, Peter, A4) - 1'11"

17. Free Rhythm. E. Asia, Japan. The ornamented long phrases of the shakuhachi (flute) are prelude to a song commenting on the loneliness of life - a notable feature in the highly stratified societies where free orchestra rhythm is most frequent. (Masu, A4) - 0'51"

18. Free Rhythm. Middle East, Armenian S.S.R. Two duduks (double reeds) in the free rhythm, microtonal, ornamental, glissando style customary in Old High Culture. (Cowell #2, C5) - 0'49"

19. Free Rhythm. C. Asia, Tibet. Masked lamas prepare to drive out the demons of the old year and call on the good spirits to aid them in the new. Shawm, trumpet, drum and cymbals. (Bourguignon, B4) - 0'51"

20. Repetition of the five rhythmic types. (Note: Listen to the instrumental part, not the singers) - 2'43"

21. Test #1. N. America. A Southern Mountain fiddle tune named for John Brown, the abolitionist. Male solo. (See Line 4, #17) (Lomax #4, B4) - 0'33"

22. Test #2. W. Africa, Bulu (Fang). A women's dance song performed by a leader with mellow-voiced chorus and clapped accompaniment. (Cozzens, A8) - 0'43"

23. Test #3. E. Europe. A N. Bulgarian lament for Giorgi Dimitrov, the Bulgarian hero of the Reichstag fire scandal, played on the kaval (seven-holed shepherd's flute) with a sound that might have been heard when Middle Eastern culture first entered the Danube Valley. (Lloyd #1, B31) - 0'35"

24. Test #4. N. America, Southwest. Pima men with drum accompaniment in the tonally individualized, but rhythmically cohesive unison style of the Southwest incipients. (Boulton #4, 1) - 0'43"

25. Test #5. S. Asia, India. A Oriya tribal song in two short phrases with repetitive text, notable raspy delivery and drum accompaniment. (Sweden #2, A1) - 0'21"

26. Test #6. S. Europe, Greece. A Peloponnesian dance of the shuffle style, with dancers in a line and moving sideways to an aksak pattern, played on glissando fiddle and plucked chordophone. (Notopoulos #2 , A2) - 0'38"

27. Test #7. S. Asia, N.W. India. Kashmir, fabled for its beauty, is like Georgia, fortunate in its climate, its mountain irrigation economy and its rich heritage of Middle Eastern culture, such as this tune for a nightingale. Flute and drone. (Bhavain, B1) - 0'40"

28. Test #8. E. Africa, Nilotic Kipsigi. Cushites of partly Caucasian descent, who practice intensive terraced agriculture in the mountains of N.E. Kenya, sing this chorus in overlapped counterpoint to a six-string lyre accompaniment. (Tracey #2/ TRr-166), A6) - 0'36"

29. Test #9. N.W. Africa. Mauretanian griots (bards) performing a hanoun, praising the emir, accompanied by a lute and by drumming on the soundbox of a harp. Male and female soloists. (Rouget, A1) 0'48"

30. Test #10. S. Asia, S. India. A stupendous Trivan drum song for Kathakall (mimed dance drama of Malabar) by male soloist with drums and cymbals. (Danielou #2, B14) - 0'27"

TESTS - 1. Simple meter/ 2. One-beat/ 3. Free rhythm/ 4. Irregular/ 5. One=beat/ 6. Complex meter/ 7. Free rhythm/ 8. Simple meter/ 9. Irregular meter/ 10. Complex meter

RUBATO - VOCAL AND ORCHESTRAL (26 & 27) - No tests have been made for associations with rubato.

31. Introduction. N. America, Southern U.S.A. A rhythmic chant by a No. Carolina tobacco auctioneer. (Key) - 0'23"

32. Afro-America, Mississippi. A black prisoner singing his own personal field holler - a song that identifies him and expresses his feelings. (Lomax 9b14, B 6) - 0'40"

33. N. Europe, Scotland. A Hebridean crofter woman talking Gaelic, then English, then singing a Gaelic milking song to her cow. (Lomax #33, B 4) - 0'35"

34. Extreme Rubato. W. Europe, Spain, Seville. A famous flamenco singer using a high-itched, narrow, embellished style, launches a saeta (an arrow of song) in honor of the Virgin's grief-as the gigantic Easter procession pauses to listen. Female solo. (Lomax #28, B23) - 0'20"

35. No Rubato or strict Tempo. N. America, Mississippi. A Choctaw Indian, heritor of a tribal tradition of complementary maize gardening, sings a Drunk Song with repetitions, wide leaps and wide voices. (Hand, A4) - 0'37

36. Much. Melanesiay E. Papua, Mt. Yule. A Gerebi woman sings a plaintive love-magic song about watching an insect crawl up a blade of grass. If the insect stays to the end of the song, the magic will work. (Elkin & Dupeyrat) #7, B7) - 0'36"

37. Some. N. Europe, France, Normandy. A comic ballad in the burry nasal voice and somewhat irregular meter typical of much of French folk singing. (Marcel-Dubois & Andral, A5) - 0'50"

38. Extreme. Middle East, Iran. From the heritage of a complex, ancient civilization, this composition in thiAbu-Ata mode is played on the tar (plucked lute) and the kemanche (bowed lute) by two males. (Danielou #1,B4) - 0'36"

39. None or Strict Tempo. N. Europe, Ireland. Played on a bodhran (single-headed drum) by two males. (Leader, B1) 0'34"

40. Extreme. Repeat of #38 - 0'29" 41. Much. E. Asia. Chinese High Moon, a piece of contemplative music from the Tang Dynasty (A.D. 618 - 906) played on nan hsiao (flute) and pip'a (lute) by two males. (Levy #3, B 1) - 0'43"

42. Some. Indonesia, Ball. One of the numerous forms of the gamelan (an orchestra of metalophones, flute and percussion instruments) is the Anklung, usually heard at funerary rites. Several males. (Berthe, B1) - 0'46"

(Note: There is no example of Strict Tempo.)

43. Test #1. S.E. Africa. The Chagga exhibit the magnificence of African mass-singing with its overlapping parts, its fluid harmonies and its surging power. Male leader with mixed group. (Tracey #2/ TR-153, A1) - 1'00

44. Test #2. N. America. A Southern U.S. Baptist congregation singing a long meter (slow, free rhythm) version of a Welsh hymn, in heterophony, with the song leader "lining out" the words from the hymn book. Male leader and mixed group. (Lomax #7, A3) - 0'45"

45. Test #3. S. America, Inner Amazonia. A Jivaro man sings that his wife has brewed chicha (alcohol) and invites his friends (Head-hunting allies) to drink. Note yodeling. (Luzuy A5) - 0'29"

46. Test #4. E. Europe. A W. Bohemian peasant girls' choir with a string orchestra (bass in lead) collaborate in heterophony. (Czechoslovakia #2, B2) - 0'49"

47. Test #5. E. Europe, Slovakia. A flageolet solo in shepherd style. (Czechoslovakia #6, A la) - 0'33"

48. Test #6. S. Asia, Nepal. Female solo. (Cronk, A6) - 0'46"

49. Test #7. Australia, C. Arnhemland. Semi-professional stickman and songman perform dance music accompanied on the a large-bore, wooden trumpet requiring great strength and control. Three males. (West, B2) - 0'28"

50. Test #8. Mexico, Jalisco. The folk oboe ( Chirimia, of Spanish origin) and drum announce the beginning of Holy Week. (Stanford & Warman, A6) - 1'18"

TESTS - 1. Extreme/ 2. Much/ 3. No rubato or strict tempo/ 4. Some/ 5. Much/ 6. Some/ 7. No rubato or strict tempo/ 8. Extreme

MELODIC FORM (16A) - Brief, simply-organised forms are more characteristic of small settlements, while large, complex forms are more typical of large settlements. The repetitious litany form tends to occur in small settlements of gardeners with domesticated animals. The big, through-composed forms are most characteristic of permanent settlements with complex productive systems, notably involving big irrigation works. The strophe, which can be either long or short, is more frequent where planned work schedules are essential - in cold latitudes among hunter-fishers and plough agriculturalists.

51. Litany. W. Africa, Upper Volta, Gwin. The chief has died and a female mourner is improvising a funeral lament with the support of her neighbors, accompanied by the insects of the night(Schaeffner & Rougety A15) - 1'05"

52. Strophe. N. America, N. Carolina Mountains. Most of the narrative and lyric folk songs of the British Isles and of the American backwoods were strophes (usually four phrased) sung unaccompanied. This ditty is of 19th century sentimental vintage. Female solo. (Rinzler & Earle, A8) - 1'06"

53. Through Composed. C. Europe. A Berlin academic choir demonstrates the old style Gregorian chant a European variant on the Eastern liturgical tradition rhythmically free, long-phrased and highly melismatic. Male group. (Sachs) - 2'13"

54. Litany. Middle East. A dervish meeting in London, where the congregants repeat the name of Allah over and over to induce trance. Male group. (Levy #2, B5b) - 0'31"

55. Litany. N. Europe, West of England chanty for hoisting sail; the chanty-man improvises, the chorus- sings a refrain; all heave on the word 'haul'. Male solo with male group. (Lomax & Kennedy #34, A1) - 1'04"

56. Strophe (3p). S. America. A Chilean narrative song performed in solo with the guitar in traditional Spanish style, but with Amerindian touches in the big leaps, the irregular meter, and the one-beat feeling of the guitar. Male solo. (Chile, A2) - 1'16"

57. Strophe (3p). N. America, Southwest. A Papago curing chant (melodically similar to #53) - one of many the medicine man would sing in all-night ceremonies, shaking his gourd rattle and occasionally brushing the patient with healing eagle feathers. Male solo with rattle. (Boulton #1, B5) - 1'29"

58. Strophe. C. Europe. Romania, Crisana. A woman improvises a lament upon the death of her brothers using a standard formula but adding new verses. Female solo. (Alexandru #1, A6) - 1'06"

59. Strophe (4p). N. America, Oklahoma. For a time, Woody Guthrie had his own daily radio program in Los Angeles. This is a song he composed and sang for that audience about a local and disastrous flash flood. (Lomax #18, F5) - 1'14"

60. Strophe (5). N. Europe. Irish folklorist, Seamus Ennis, lilts and ironic Anglo-Irish anti-recruiting ballad of ihe-Napoleonic wars, when Ireland was a source of cannon-fodder for both sides. (Ennis & Lomax, B32) - 0'48"

61. Strophe (8). N. America, Southwest, Pima. Strophes, notably those with many phrases and complex structure, are especially frequent in North American Indian cultures. Four men with drum. (Boulton 01, B7) - 1'58"

62. Through Composed, S. Asia, India. A Tamil ral-a in honor of Shiva, one of the many large, through-composed forms (the symphony is another) which have emerged in complex urban civilizations. Male solo with sitar. (Asch #2, A2) - 2'20"

63. Test #1. Afro-America, Arkansas. A lyrical blues work song from the Mississippi Valley prison farms. (Lomax #14) - 0'44"

64. Test #2. Afro-America, Louisiana. 19th century antebellum, dance song, suitable for fiddle or banjo, kept in the repertory of Texan black prisoners. Male solo with guitar. (Ramsey #2, D 3) - 0'25"

65. Test #3. West Europe. Galicia, where plaintive airs, improvised harmonies, bagpipes and Celtic love of country come together in such 'ay-la-la's'. The text says: 'when pipes sound, my heart flows out with love for my country- for in the whole world there is no land like ours...' Female group. (Lomax #23t A 2) - 2'18"

66. Test #4. North America, Plains Cree. This melodic form - combined with a terraced shape, high register, large intervals, and much repetition- form a pattern typical of the nomadic hunters of the Northern Plains. Male solo with drum. (Peacock, A 2) - 1'44"

67. Test #5. South Europe, S. Spain, Andaluciap where ordinary day-laborers, drinking with their friends in a bar, improvise such tricky and demanding flamenco songs, "as long as the wine lasts! Male, beating time on table top. (Lomax~ #19, A9) - 0'56"

68. Test #6. West Europe, N. Spain, Leon. A female chorus singing in honor of the bride at an old-fashioned three-day wedding. Female group. (Lomax #26, A 4) - 0'47"

TESTS - 1. Strophe/ 2. Litany/ 3. Through-composed/ 4. Strophe/ 5. Through-composed

THE NUMBER OF PHRASES (18) - Our very tentative findings about melodic size are briefly the following: As a very general rule, melodies of 8+ phrases seem to be most frequent in large settlements, particularly if irrigation is practised, while one or two phrase forms are most common in cultures with smaller settlements - especially if they are dependent on hoe or digging stick agriculture where productive labour consists largely of simple chopping or digging movements. The middle-sized strophic forms are commonest among the predators and plough agriculturalists of the North, where productive success depends more upon strategic and non-repetitive action by individuals rather than upon the continuous rhythmic and often concerted action of groups.

69. Two Phrases. U.S.A., Virginia Mountains. a ballad of passion and murder in couplet form. Male solo with guitar )speech over) (Lomax #6, B1) - 0'36"

70. Three Phrases. N. Europe, Scotland, Aberdeen. This Scots form (Child 10) of the ancient European ballad of sibling murder- where the remains of the dead rise to accuse the killer- are in the old 3-phrase form of two narrative lines, plus a refrain for the audience to sing. (Kennedy & Lomax #2, A5) - 1'03"

71. Three Phrases. S. America, Chile. The old, 3-phrase, Castillian ballad style vigorously surviving in Chile. Female solo with guitar. (Chile, A2) - 1'01"

72. Two Phrases. Afro-America, Martinique. An example of a West African two-phrase leader-re-sponse style. (Lomax #36, 1) - 0'53"

73. One Phrase. Albania. An epic ballad set to a one-phrase melody from one of the European strongholds of the zadruga (the extended family settlement). Male group in unison. (Lloyd #2, A7) - 0'41"

74. Two Phrases. Afro-America, West Indies, Tobago. African hoe agriculture was continued in the Caribbean slave and cash-crop cultures, where, until lately, one and two-phrase melodic forms were dominant. The text hints that the mother is at work and a child is minding the baby. (Lomax #36, 1) - 0'47"

75. Three Phrases. W. Europe, Scotland, Such so-called 'bothy' songs, concerning the working lives of the farm labourers of Aberdeen, were an important source of the ballads of American lumberjacks and cowboys. (Lomax #33, A17) - 0'40"

76. Four Phrases. U.S.A., Virginia Mountains. A sentimental 19th century hit in the dominant Euro-American quatrain form - performed bluegrass style. Male group with string accompaniment. (Lomax #12, A6) - 0'52"

77. Five Phrases. Central Europe, Roumania, Cluj. A delicately embellished appeal to the emperor to stop his wars and his needless slaughter of the young men. Female solo. (Alexandru #1.8) - 1'17"

78. Slx Phrases. Plains Indians, Pawnee. A ghost dance from the pan-Indian revivalistic movement of the 1870's which for a time rallied the hopes of the Plains Indians as they were being pushed out of their ancestral hunting grounds. Complex strophe to a complex irregular meter. Male solo with drum. (Rhodes #4, B 10) - 1'02

79. Eight Phrases. South Europe, Spain, Valencia. A Christmas carol (aguinaldo) from the irrigated gardens of this ancient kingdom of the Romans and the Moors. Four males with trombone, clarinet and guitar. (Lomax #2, B8) - 2'11"

80. Test #l. The Balkans. A ritual song for St. George's Day from the Serbian mountains. w femalegroupsoveriapping. (1p). (Kennedy #l,B 42) - 0'37"

81. Test #2. East Asia. A work song, mounting a long narrative, the Ryuku Archipe@o, whose culture still preserves the ways of old Japan. Female chorus with drum. (3p) (Masu, B17) - 0'41"

82. Test #3. Africa, Gwin tribe, (see Line 16a, #1) (2p) - 0'30"

83. Test #4. Europe, N. Spain, Asturias, (See Line 1, #6) (6p) - 0'49"

84. Test #5. East Europe. Ukraine. A practiced rural choir in a traditional Russian folk pattern of wide-voice, well-blended polyphony, and irregular meter. (3p) (Cowell #Z, B1) - 0'46"

85. Test #6. India, il. A devotional raga developing a melodic theme in a common Old High Culture pattern - free rhythm, through-composed, embellished, accompanied in rhythmic heterophony. (8+) (Asch #2, A2) - 0'58"

86. Test #7. South America, Interior Amazonia, Jivaro. The Jivaro live in dispersed, single-family habitations and, since the men spend much of their time in pursuit of game and heads, the women are often alone, dreaming and longing for their lovers, as in this song. Male solo. (2p) (Luzuy, A9) - 0'16"

87. Test #8. West Europe, Sweden. courtly romantic ballad in the ancient couplet-plus-refrain, solo-chorus style. (5p) (Sweden #4, A1) - 0'58"

88. Test #9. Central Asia, Uzbek. These modern descendants of Turco-Mongol pastoralists still have many such highly ornamented epic songs to remind them of their imperial ancestors who conquered the Central Asian steppes. Male solo with tar (lute). (8+) (Cowell #4, B2) - 1'17"

TESTS - 1. 1p/ 2. 3p/ 3. 2p/ 4. 6p/ 5. 3p/ 6. 9+/ 7. 2p/ 8. 8+

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