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PANAMA -- RTR 1198 3" reel tape 7½" (both sides) Canal Zone & Interior: Social Dances, Corpus Christi, 5 str-fid, flute & drum with shouts during fiesta - sent by Mrs Cheville to Maud Karpeles c. 1960s

PAPUA -- BLACK BROTHERS dub of cassette from Port Moresby New Guinea CASS-0070 & 0071 - Australia & New Guinea: COLUMBIA SL-208 - Indonesia: COLUMBIA SL-210


PERU -- - Pipe & drum band "Charango" orch & Titiaca Indian dance with drums: FTX-700 - Quechua: FTX-781 - A mestizo dance tune for flute and drum/ Junin, Santiago. Violin, trumpet and drum spur on the work of the harvest/ Junin. The lively orchestral traditions of the Andes are reminders of Peru's imperial past. Here, it is the ambiance, the ensemble, which is clearly native, even though the musical material is Hispanic: FTX-783 - Inca Panpipe Ensemble: NONESUCH H7-11 -Pancartambo Indiens Q'eros: OCORA OCR-30/ CASS-0124 (box) - Cass dub of Kitty Turner's S American comm 78 rpm discs -Tany MEDINA & LOS MOROCHOS harp solos CASS-0090 (dub of disc) LOS CALCHAKIS incl Ecuador, Colombo, Peru, Argentine, Bolivia: - BARCLAY 820-054/ CASS-0091


POLAND -- - World Instruments: FTX-700 - A modern village chorus performing an old comic ballad about farm animals. Mixed group/ A typical village orchestra of fiddles, bass and clarinet, playing a figure dance as the singer calls out: "Play faster, I'm not crippled.': FTX-785 - Polish Country Dance Band: RPL LP 26219 "Calling the tune #6" 25/2/63 "Flisak" - Feliks DZIERZANOWSKI & his Polish Folk Band: POLSKIE NAGRANIA XL 0746 1971 - MUZA SX-1125/6 1976 Double LP of Polish Folk Music/ CASS-0100 - DUBROWAS Polish Folk Group based in London 6/86 - DUBROVA FAMILY of S London (3m 3/w) Radio 2: 7/10/87: CASS-0401

POLYNESIA - COOK ISLANDS - HAWAII - SAMOA - TAHITI - TONGA -- Cook Islanders perform choreographed song dances in forceful, wide-voiced style. Male group and female group: FTX-781 - Tahiti, where a permissive, cohesive, complementary, but aristocratic society favoured clear-voiced, well-blended, polyphonic choirs singing with precise enunciation: FTX-784 - West Polynesia, Puka-Puka. In Polynesia well-rehearsed and choreographed troupes of mixed dancers perform on feast days and often tour near-by islands. On moonlit nights the young people perform similar dancing songs on the beach. These overlapping choruses, which are sung with great energy and cohesion and often in polyphony. Male and female group: FTX-789 - Radio progr "Polynesian Art of Dance" 12/2/79 Dr Adrienne Kepler of Bishop Museum Honolulu & talk about Hawaii & Easter Island by Grant McCall NSW: CASS 0093 - Popular Songs of Samoa rec 1949 (RPL 13556) CASS-0093 - Radio progr 12/2/79 4 songs from Samoa performed with English announcements/ RTR-0446-7

PORTUGAL - see also MADEIRA -- Children's games: FTX-623 - World Instruments: FTX-700 - S. Portugal, Algarve. A calendrical song, ' Janeiras' or year-end carol for January lst. Male solo/ Christmas carol. Mixed group: FTX-785 - TROUTBECK 121-6 (3) Spanish & Portuguese Synagogue London - WOMAD TB-3 1982 Pedro Candera CANBRAL gtr group

PUERTO RICO - recs by Richard A Waterman 1946: LIB of CONGRESS AFS L-18

RAJASTHAN -- OCORA OCR-47 Music from Rajasthan/ CASS 0116 (box) - OCR-81 Professional f/ musicians of Rajasthan/ CASS- 0142 (box)

ROMANIA -- Douglas KENNEDY talks about the Calusari Morris: FTX-481 - Euro-gypsies: FTX-608 - recs presented to Dr Maud Karpeles/ CASS-0103-4/ FTX-631 - FTX-634 - World Instruments: FTX-700 - Film of Village Festivals with Calusari (Morris dancers) made in 1938: FF-4404 - Wallachia. Dance tune played on the bagpipe by shepherds: FTX-781 Clui peasant girls, carrying a harvest wreath of wheat that symbolizes the sun, sing the harvest round the village/ Bucharest State folk ensemble accompanying a great panpipe player in the favorite gypsy showpiece that describes the soaring, singing lark. Panpipe with violin and cymbalom accompaniment: FTX-783 - Transylvania. A lament for a dead child is sung tenderly as if it were a lullaby. Female solo: FTX-784 - Crisana. A woman improvises a lament upon the death of her brothers using a standard formula but adding new verses. Female solo/ Cluj. A delicately embellished appeal to the emperor to stop his wars and his needless slaughter of the young men. Female solo: FTX-787 - Muntenia. A ritual song for a big three-day weddlng, accompanied by a gypsy-style orchestra from the homeland of the doina in the Danubian plain - for millennia, the entry-way for Oriental culture into Europe: FTX-788 - Tuvin. The singer constricts his throat, retracts his tongue producing a low growling note, while shaping the higher pitched overtone notes, as he would do in playing a jaw's harp. Found as far west as the Bashkirs, this style is most frequent among the Mongols, especially the Tuvins, a little known group of hunters and pastoralists who live in the high country between the Altai and Sayan Mountains. Male solo: FTX-789 - World of Travel sampler ARGO ZFB 41 & SPA 212 - Archive of Folklore Inst Bucharest RPL LP 23243-5 - Popular vocals & orchestrals incl pan-pipes: DECCA Eclipse ECM-ECS 2031 1963 - Anthology presented to Maud Karpeles 2/8/62: - ELECTROCORD EPD 1007 orchestral: 1015/6/7 12/CASS 0102-3" - The True Tradition of Transylvania rec Vuylsteke: OCORA 558-596 1974-9 / CASS-0137 (box) - Folk music in Transylvania by Simon Broughton on Radio 4 20/12/89 CASS-0033 - Radio 2 progr by Harold Dennis-Jones 14/2/79 CASS- 0065 - Transylvania CASS-0137 - 5"RTR- 0789/ CASS-1355 copy of Romanian dances - "Doina" by Mari LATARETU & orcherstra rec by Tiberiu Alexandru, Lelesti, Turgu Jiu, Oltenia for The Archive of the Folklore Institute, Bucharest: COLUMBIA World Library ROUNDER 1759 2001/ ROUNDER CD 1700 1997 "Ma UitaI Spre Rasarit" (Looking towards the rising sun) - Midwinter Carol, Hunedoara: ROUNDER 1719 1998 - DVD of Calusari 1938 (see folkfilms)

RUSS-ASIA including - MONGOLIA - SIBERIA - RUSSIA - UKRAINE - see also -ARMENIA - AZERBAIJAN - GEORGIA - Dagestan (Female and male choirs, Georgia cannonic, contrapuntal polyphony with a yodeled leader's part/ Kazakhstan (a song in the bardic style, typical of Old High Culture)/ Central Russia (A Molokan church Sunday School, singing a Protestant hymn)/ State Siberian Folk Choir singing an arranged peasant ditty : FTX-781 - Karelia: A choir of peasant girls from the northern wooded province near Finland/ Bowed lutes play in a traditional intertwining style/ A rozhok (cornet) ensemble from Great Russia, playing a traditional "That"/ Georgia in the Caucasus preserve this modern survival of a primeval, interlocked style of counterpoint, once widely known in East Europe: FTX-782 - An art song about Stenka Razin, the peasant revolutionary, performed by the Soviet Army male ensemble with string orchestra accompaniment/ An operatic solo from Prince Igor performed by Chaliapin with a complex orchestra accompaniment/ One of the modern state balalaika orchestras swirls through a traditional Russian folk dance. Strings/ Turkestan. A flute and drum piece/ Moscow. The choirs in the Bolshoi Orchestra slide over each other in jazz arrangements and contemporary European orchestration, String and wind sections of the symphony orchestra/ Bashkir. A flute solo in free-rhythm from a Tatar people who live in their own autonomous region in the Urals: FTX-783 - A Mongolian singer matching the top notes of a bowed lute/ A Cossack ballad from the Ukraine, performed by a trained baritone with bandura (stringed instrument) accompaniment/ Georgia. The high, mountain-locked valleys of the Caucasus guard many traces of an-cient cultures, among them a true virtuosity in yodeling, often combined with magnificent contrapuntal choralizing, whose structure is like that of the African pygmies. Male group/ Kalmyk. This combination of wide voices, big leaps, big range, with florid ornamentation is peculiar to the zone of steppes and herding from Mongolia to the Balkans: FTX-784 - Mongolia, Darhat, a culture with the layered, patriarchal, male-dominated pattern of many large-scale pastoral states/ Mongolia. Dorzhdagva, a famous singer with a three-octave range, pours out strings of glottalized nonsense syllables in a heightening of Arctic Asian style/ The Kalmyk were mounted warriors and cattle herders of the steppes west of the Volga, a land where such heroic songs once flourished. Male solo/ A Mongolian saga singer accompanying himself on the bowed lute, rhapsodising about the Gobi Desert. Male solo/ The Kalmyk lived as sizeable bands of semi-nomadic cattle herders, feudally organized under khans Male solo: FTX-785 - Buryat Mongols, descendants of the riders of Ghengis Khan, employ an ornamented bardic style, as in this solo drinking song with lute accompaniment/ The Kazakhs were formerly nomadic pastoralists whose extended family clan confederacies (hordes) occupied a vast territory and whose bards performed epics and engaged in battles of sung poetry to lute accompaniment: FTX-786 - Ukraine. A practiced rural choir in a traditional Russian folk pattern of wide-voice, well-blended polyphony, and irregular meter/ 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): FTX-787 - Russia. Turkmen, dwelling east of the Caspian, here perform so that the voices of singer and bowed lute soar like eagles over the steppes. Male solo/ Mongolia. East Mountain Buryat, a nomadic herding culture with the soaring, gliding, embellished, tremulous style typical of this zone. Male solo/ Tadjikistan. This state-supported national ensemble could be a modern embodiment of the ancient Iranian civilisation of the Middle East. Female solo and chorus with strings/ N.C. Russia, Volgoda Region. A woman keens a ritual lament for her dead father in a style with parallels all over Europe/ C. Asia, Buryat Mongol art song, with the wide leaps and big range frequent in Central Asia. Female solo with lute accompaniment: FTX-788 - Turkmen. Tense-throated Asian virtuoso uses high register, glissandi, glottal sobs and strong dynamics to enhance a bardic declamatory style, found all over the Middle East and Central Asia. Male solo with plucked lute (dutar) and bowed lute (gidchak) - South Russia. A wedding dance sung in the open-air style said to have originated when the original Russian inhabitants came back from the North to reoccupy lands that had been long held bythe Tartars. Female chorus: FTX-789 - Urals State Choir rec by PK: RTR-0474-6/ CASS-60-0059 - Church Bells of Rostov MELODIYA 15836 - F/S rec Hungary July 1975 PRIVATE TATAR - "Song of Homeland" WOMAD TB-3 1982 - "Song of Homeland" with dulc: WOMAD TB-3 1982 - Folk quartet from St Petersburg on their 1991 tour: cassette from Russell Needham - comp cassette from Marina Fonina St Petersburg 1992 ZABAVA 1991 - RUSS Male Choir: Liturgical Hymns from St Petersburg: CASS-1077 - ZABAVA (group from St Petersburg) rec by Jonathon Coudrille, Glastonbury & Bath 1991 CASS-1078 - Dubs by Marina & Vladimir Fonina of 1980s recs, St Petersburg Nov 1992 CASS 90-1079 -00 --- Recs outside Russia: THE PENNYWHISTLERS: NONESUCH H-72007 1971 & 72024 - Roger NICHOLSON (dulc) & Jake WALTON (gtr): ARGO ZDA-204 1974 "Bright shines the moon" (Balalaika tune) - Nic JONES: FOLKSOUND FS-100 1974 "Warlike Lads of Russia" - Hank WANGFORD: Radio progr 26/1/86 "Why Gengis Khan was a cowboy too" CASS-0480 mainly from Eastern Europe - RUS Black Sea area Folk Group CASS-1289 gift 1993 - Viacheslav TARAN (bayan accordion) rec by Terem Centre finalists St Petersburg, 1995: ELLIPSIS ARTS 3xCD "Planet Squeezebox" 1995 - KARAVAI Quartet of Perm with balalaika & domra: Catalyst CATA-CD-2 1998 (rec in Denmark) "Babushka Matryona"Track 13 has ethnic field recording from Urals taken up by group


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