MADEIRA -- Grupo de Folklore e Etnografico da Boa Nova: BB9502 Funchal 1995

MALAGASI - (Madagascar) -- Mahafaly male bard (Arab influence) with lyre and sticks: FTX-784 - A healing song from a highly stratified culture. With a female soloist, gunshots, two overlapping choirs, men yodeling, hand clapping and much ornamentation: FTX-785 - A crowded African healing ceremony, thrilling Cushitic cadences of the female lead, responses by a woman's chorus, a male solo and male chorus overlapping in contrapuntal relationships, a gun fired off to drive away evil spirits: FTX-789 - History of Music Choir & "Valiha" (hair-cutting ceremony): EMI HLP-1 - Valiha tubular bamboo gtr & other unusual instruments: OCORA OCR-18 & 24 (S) / CASS- 0127 & 0129 (box) - GLOBESTYLE Cass dub - current trad music (1988) - cass of radio progr 1974 on "The Valiha" the National Musical Instrument (RPL 3014-7) - Chris Dabbs Kilalao Zezeet Groupe "Jon": CASS-0061 - GLOBESTYLE rec featuring "kora": Radio 2 on 9/9/87: CASS-0403 - Francois REGIS-GIZAVO (voc & musette accordion): ELLIPSIS ARTS 3xCD "Planet Squeezebox" 1995

MALAWI - (Nyasaland) -- Hugh Tracey Coll East Africa: COLUMBIA SL-213

MALAYSIA - INDONESIA

MALI - AFRICA

MALLORCA -- COLUMBIA SL-216 rec by Alan Lomax incl Ibiza/ CASS-0051

MALTA & GOZO -- Maltese Operatic Choral Society (male section) rec 17/7/59: RPL LP 24956 (6 Carols) - Damian Webb's 1971 recordings of children's games and carnival bands: FTX-627

MAORI - NEW ZEALAND

MARTINIQUE - CARIBBEAN

MELANESIA - ADMIRALTIES - NEW BRITAIN - NEW GUINEA - NEW IRELAND - PAPUA- SOLOMONS - Admiralties: Baluan women singmg in seconds, Bulgarian style, in a culture where women do half or more of the work that produces the staple food: FTX-781- Solomon Islands, Malaita. A modern ceremonial panpipe orchestra - six instruments - organized in pairs, one playing 1, 3, 5, 7, the other - 2, 4, 6, 8 - in three-part polyphony, each part doubled at the octave/ Yambon. A seven-man garamut (slit drum orchestra) performs tatoos/ Admiralties, Usiai. Like other Melanesians, these were occasional cannibals, perhaps because of the relative scarcity of available protein in their diet/ Admiralties, Manus, Usiai. Three old men in a sing-song of wordless melodies, all by known song-makers and all harmonized/ S. Papua, Fuyege. Sweet, plaintive vocal style/ S. Papua, Tawade. A mountain tribe of great singers and dancers with the reputation as fierce warriors. Male group: FTX-783 - Admiralties, Manus. This sea-going, fishing and trading community was masculine in orientation and the position of women was low. Here a Manus woman sings a snatch of a lullaby/ S. Papua, Kuni. Low volume, parallel chords and gliss are distinctive features of this musical enclave, which may be pre-Melanesian. Mixed group/ E. Papua, Orokaiva. Male chorus, singing repetitiously in large intervals: FTX-785 - Solomon Is. Buin Area. The songs in this pig-and- root zone are often polyphonic like this one for the preparation of a feast. Mixed group/ Torres Straits, Sabai Island. These once fierce fishing and gardening people guarded the island bridge between S. New Guinea and Australia. The musical style is clearly Papuan, rather than Australian, but the musical organisation, in which the parts move from unison into fifths, triads and parallel octaves, rather resembles the drone polyphonies of Polynesia. Seven men with drums/ - 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: FTX-787 / Admiralties, Manus. A fishing, trading people, most of whose songs are laments, this one concerning an inter-village battle. Male duet/ Admiralties Baluan Island. Three women performing in harmony amazingly close to Balkan examples/ Admiralties. Usiai sing in their habitual, plaintive, backwoods way about an orphaned child: FTX-788 - The Usiai tropical gardeners live in the hills back of the coastal Manus, whom Margaret Mead studied. The subdued vocalizing and the harmonizing are typical. Four young men/ New Hebrides, Tanna Island. A great throng of men, women and children of Yokananon Village in the Kalbu dance, which celebrates the completion of yam planting, wheel round in a great stamping, clapping cluster: FTX-789 - New Hebrides: RPL 30147 Land diving songs & slit gong with chant (not in Lib) - Musique de Guadecanal (Main Island) rec by Hugo Zemp: OCORA OCR-74 1970/ CASS-0147 (box)

MEXICO: Central America -- FTX-700 World Instruments: "Jaranito" (string instrum) & "Marimba" (xylophone) - Pueblo Taos. Tightly organized unison singing. Mixed group with drum: FTX-781 - Oaxaca, Mixtec, a male soloist accompanies himself on a three-string tortoise-shell guitar/ C. America, Guna, Araquia. Cuna culture, a link between Mayan and Andean upland traditions, ceremonies of female initiation where long, mythological epics and panpipe and horn music play a central part. Here six men dance in a circle, blowing long, plain bamboo pipes, with two panpipe players on the sidelines/ Morelos. Tlayacapan town band of 18 men (trumpets, trombones, saxophones, bass fiddles, drum, cymbals) blast out the carnival music for the masked, transvestite male 'chinelos' dancers/ Chiapas, Mayan music for a Catholic festival diffusely orchestrated with trumpets, whistle, and drums in a style frequently found in Nuclear America and which we judge to be pre-Columbian: FTX-783 - North Mexico. A man performing the Deer Dance, which links these hunters to their most important game; accompanied on a notched scraper, sticks and water drum: FTX-785 - Jalisco. The folk oboe, Chirimia, of Spanish origin) and drum announce the beginning of Holy Week: FTX-787 - Michoacan, Zamora. A mananitas, or morning serenade, sung by two village girls: FTX-788 - San Luis Potosi. A Huastecan son (dancing song) typical of the enormous and brilliant genres of Mexican semi-professional, folk-popular music. Two males with violin, bass guitar and tenor guitar: FTX-789 - INBA [1971] INSTITUTO NACIONAL DE BELLAS ARTES Campeche 1973 - recs by Henrietta Yurchenco 1944-6: LIB OF CONGRESS L5 Childrens Games & 19 Folk Music - NONESUCH H-7-11 Michoacan (2tr) - OCORA OCR-73/ CASS-0148 (box) - cass dub of S American commercial 78rpm discs loaned by Kitty Turner: Mariachi RTR- 0473 - CASS-0092 dub of field recs 12/5/77 by Jean Rad Hellmer

MICRONESIA - Palau, Western Carolines. A song for entertainment at old-style gatherings. Female solo: FTX-785 - Palau. A complementary and cohesive culture devoted to fishing and horticulture. A female leader chants a theme that is repeated and then elaborated by others. Drone polyphony comparable to Balkan examples. Three females: FTX-788

MIDDLE EAST - see AFGHANISTAN - BAHRAIN - EGYPT - GREECE - IRAN - IRAQ - ISLAM - ISRAEL - LEBANON - PALESTINE - SYRIA - TURKEY -- ARGO ZFB-42 Music - ZFB-54 Religious (Christian & Islanic) - ZFB-91 Dervishes - FOLKWAYS FR-8943 (Dervishes) Islamic Liturgy rec JL London - TANGENT TGS-131-5 Human Voice/ Lutes/ Strings/ Flutes & trumpets/ Reeds & Bagpipes

MOLUCCAS - INDONESIA

MONGOLIA - see also SIBERIA - Professional folk musicians perform a modern song. Female group with yetah (zither): FTX-783 - GLOBAL ARTS GA-! CASS-0066 Music & song of M rec live by Carole Pegg at Cambridge Univ Arts Studies Unit 5/8/88 - HUNGARIAN NEPRAIZI ETHNO MUSEUM [1966] Fiddle - TANGENT TGS-126 Vocal Music rec Jean Jenkins

MORAVIA -- "Moravian Folk Songs and Dances": FTX-643

MOROCCO - Sephardic song: FTX-785 - Ouzazarte. A Gran Houache performed in the courtyard of the pasha's palace south of the high Atlas Mountains at the edge of the Sahara. Two rows of women weave a stately giant circle round a cluster of seated male drummers who respond with thrilling calls. The ancient Berber pattern is democratic, egalitarian and complementary. Female group and male group with drums: FTX-789 - recs by Paul Bowles 1959: Lib of Congress L-63-64 - CASS-0097 JAJOUKA Royal Court performers of High Atlas with tuned drums

MOZAMBIQUE - AFRICA

NEPAL - INDIA

NETHERLANDS - HOLLAND

NEVIS & St KITTS - CARIBBEAN

NEW BRITAIN -- MELANESIA

NEW GUINEA - INDONESIA - MELANESIA - Sepik. The string of the musical mouth bow is plucked and the overtones of these notes are amplified by changes in the oral cavity near which one tip of the bow is held/ Sepik River - Siassi Islands. A funeral lament performed at the grave or death feast of an elder. Male solo/ Butala area. After an old woman had died, her son sang this song: FTX-784 - Male solo with hourglass drum - Vanimo. A unison male chorus of the Northern Coast, accompanied on the typical hour-glass drums, sounds its strength in a war song. Small-scale wars over land, ended after a couple of skirmishes, were endemic in these root and pig-raising economies. Unison male group with hourglass drums: FTX-786 - Sepik River, Iatmul. One side of a ceremonial duet (tsgai) , a celebration of a set of related names. Male solo with hourglass drum - COLUMBIA SL-208 F/M of Eastern New Guinea (CASS 0045) - DVD 2003 (colour & b/w) by John Bishop & Harold Prins "Oh what a blow that phantom gave me" interview with Edmund Carpenter 1998 with 1969-70 footage of Sepik River tribal initiation etc

NEW HEBRIDES -- MELANESIA

NEW ZEALAND -- Maori. A lament of forcibly separated lovers, sung in wide-voiced polyphony by a mixed choir from this ramage-grouped, horticultural society: FTX-782 - A large mixed chorus sings an ancient lament: FTX-783 - The Maori, in the general fashion of the Polynesians, preserved their genealogies (so important to them in determining their social positions) in lengthy chanted poems, like this lament for the great chiefs of the past: FTX-784 - Maori. Puhiwahine, a Maori poetess composed this song in her youth when she was forcibly separated from her lover. They had grown old before they met again and they wept as Puhiwahine sang this waita. Mixed group: FTX-789 - CASS 0067 rec Alys Curtis June 1980: Field rec of old performers & 3 songs rec Dartington College of Arts incl version "Little Brown Jug" - Group at Sidmouth Festival: RPL Radio 2 10/8/88: CASS-90-0549 incl "Haka"

NIGER & NIGERIA -- Jos Plateau, Anaguta. The interlocked, hocketing Pygmy-like style of this flute orchestra comes from a small, complementary tribe living in a zone once occupied by Pygmies, and probably represents an absorption of Pygmy style: FTX-781 - Yoruba Theatre: ASSOCIATED RECORDINGS COMPANY ARC0-1062 "OBALUAYE" - Drum Beats (Northern Group: (RPL LP 25825) - Griots: OCORA OCR-20 / CASS-0128 (box) - Tuareg & Bororo: OCR 29 / CASS-0124 (box)- Nomads Tuareg & Bororo: OCORA OCR-29 - Ife Univ Plateau: OCR-82 1972 / CASS 0141 (box) - Prince Nico & Rocafill Jazz: WARNER WEA-KO-8045 - Intro to Africa: WOMAD TB-2- J.K.DAIRO MBE (melodeon) with percussion rec 1971: ELLIPSIS ARTS 3xCD "Planet Squeezebox" 1995

NORTH CAROLINA - Steve MEEKINS (fid) rec by Frank & Anne Warner, Kitty Hawk, N C 1941: FTX-927

NORWAY: -- see also LAPLAND - Willie HUNTER (fid) rec by Pat Shaw, Shetland 1952: FTX-068 "Norwegian Waltz"- CAS 0032 Hardanger fiddle/ 0062-3/ FTX-368 - rec 1953 IFMC Festival: FTX-610 "Soldier's Joy" tune - World Instruments: FTX-700 - A sentimental song about the beauties of nature in Sete-dale Valley. Male solo: FTX-781 - Trained European vocalists lady ballad singer: FTX-783 - A mountain woman remembers one of the calls (Kulokk) she employed to manage cattle in her young days as milk-maid/ A Valkyrie voice from the world of Nordic princesses and of valiant dairymaids who guarded the cattle while the Vikings plundered Europe: FTX-784 - Telemark. A fragment of an epic song about the hero, Roland, whose trumpet blasts 'burst walls as far away as nine day's travel.' Female solo/ When the men were away fishing or raiding, Norwegian dairymaids used such calls in herding the cattle. Female solo: FTX-785 - A cattle-call (kulokk) such as the dairymaids of the Norwegian hills employed for centuries to manage their herds. Cattle pastoralism enriched this zone of Europe before it knew intensive plough agriculture; it was customary here to sing to the cattle. Thus the cattle songs and calls of the American West are an ancient West European patrimony/ A cattle-herding song from the Norwegian mountains, where herding preceded field agriculture, as in much of W. Europe. Male solo/ Mouth music for dancing, a N.W. European trait with Siberian connections. (See LAPP songs): FTX-788 - 2'17" COMPLEX MELODIC FORMS (16B) - CAPRICE 1153 Hardanger fid & piano rec by Daliot - RTR-0329 & 0449 - FREE REED FFR-005 TROTTO Hardanger "Fanitullen" - LARRIKIN LRF-034 1977 Percy Grainger's piano roll of Norwegian Folksong (Greig) - RCA FEP-45 & FLP-11 Telemark hardanger rec Myleburst - FLP-18 Frondelag - FLP-19 Old folk instrum incl Finnish Kantele - LPNE-2 Mountain & Valley - TALENT 2021 1977 Sven Nyhus Quartet - TOPIC 12-TS-351 f/m of N rec Radio: Myklebust/ Daliot/ CASS#0197 - TOPIC 12-TS-429 "Ringing Strings" (Daliot #2 & Shetland) - TRIOLA TNLP-42 Telemark hardanger - Bergen Group at EBU Radio Festival in Denmark intro by Cyril Tawney 5"RTR-1208/ CASS-0341 incl Jews Harp - EBU Fest in Finland: Springleik Radio 2: 5/4/83: CASS-0410 - Magnus MANNHEIM (Hardanger fid) rec by Tom Anderson 1964 :CASS-0436

NYASALAND - MALAWI

OKINAWA -- A traditional lullaby performed as an art song.
Male solo with sanshin (three-string lute): FTX-788