FTX-782 - THE WORLD ENCOMPASSED - 8 CDs - vol 2

THE TONAL BLEND OF THE VOCAL GROUP (5) - Good tonal blend depends upon the relative absence of vocal noise and ornamentation, and the presence of wide, clear voicing. It also predicts a complementary society, where, because males and females share equally the main productive activity of the culture, there seems to be a relaxation in vocal signs of tension and male dominance, and a tendency to act in a highly coordinated fashion.

01. Very Individualised. North Europe. English rural pub singing in the gravel-voiced, diffuse tonal blend, often found in non-complementary, individualised East Anglia. Male leader with mixed group. (Kennedy and Lomax #5, B 2) - 0'45"

02. Very Unified (Maximal). The Balkans, Bulgaria, Rhodope. A bandit song performed in unified tonal blend common in the clan villages of Eastern Europe, where women often tend the animals, sheep and goats, and share the field work. Male group. (Lloyd #1, A 13) - 0'50"

03. Very Individualised Polyphony. Malaysia, Borneo, Murut. A small complementary, non-solidary tribe of slash-burn farmers. Male group. (Polunin #1, A4) - 0'57"

04. Unified Polyphony. Afro-America, Virginia. A unified rendering of an oldfashioned spiritual from a solidary and complementary religious commune. Male solo with mixed group. (Lomax, #15, B5) - 1'08"

05. Very Individualized. Repeat of #1. 0'26"

06. Rather Individualized. North America, Southwest, Western Apache. A song for the Devil Dance, part of the nine day girls' puberty rite, from a semi-nomadic, extractive economy. Male group with drum and legbells. (Rhodes #3p B3) - 0'43"

07. Unified. Old Europe, N.W. Spain, Galicia. A song to St. Andre who was such a local patriot he would not cross the river to leave this permissive complementary village. Mixed group. (Lomax #23, A 8) - 0'29"

08. Very Unified (Maximal). Repeat of #2. - 1'03"

09. Test #1. East Europe, Caucasus, Georgia. A well-rehearsed Choir singing an arranged folk song in the polyphony that comes naturally to this highly complementary, mountain valley-irrigation culture. (Russia #10, Side 4, #2) - 1'03"

10. Test #2. South America, Interior Amazonia. Campa. A social dance song in casually-organized polyphony from a diffuse, semi-nomadlic, but complementary, extractive society. Mixed group with drum. (Tschopik. B6) - 0'37"

11. Test #3. Europe, N. Spain, Basque, A crowd from the fishermen's guild, just off the boats, demonstrated the solilarity for which the Basques are famed, in this unrehearsed and spontaneous performance. (Lomax #21 B6) - 0'41"

12. Test #4. Europe, N. Italy, Emilia. A group of villagers from this complementary, rice-growing culture, sponta-neously producing a unified polyphonic effect. (Lomax & Carpitella #31, B4) - 1'03"

13. Test #5. South America, Orinoco Delta, Guarauno. The diffuse, heterogeneous interlock, typical of the complementary, fissive, semi-nomadic gatherers of the Orinoco. (Preloran, 14) - 0'21"

14. Test #6. Polynesia, New Zeland, Maori. A lament of forcibly separated lovers, sung in wide-voiced polyphony by a mixed choir from this ramage-grouped, horticultural society. (New Zealand, A4b) - 0'47"

15. Test #7. North America, E. Woodlands, Choctaw Walk and Jump Dance. A rhythmically cohesive, tonally quite diffuse, poly-parted performance by the descendants of Mississippi Indian farmers. (Hand, A2) - 0'47"

16. Test #8. Central Europe, N. Hungary, A rather cohesive performance by peasant girls of a 'new style' lyric song from a stable village society. (Hungary #1, 22) - 0'59"

TESTS - 1. Very Unified (Maximal)/ 2. Very Individualised/ 3. Very Unified (Maximal)/ 4. Unified/ 5. Very Individualised/ 6. Unified/ 7. Rather Individualised/ 8. Unified

THE RHYTHMIC CO-ORDINATION OF THE VOCAL GROUP (6) - The level of rhythmic solidarity seems to reflect the solidarity of the social group and is therefore achieved with less rehearsal by singers from small clan-organized societies or from societies with solidary work teams. Diffuse community organization and/or a high degree of stratification seems to foster less cohesive choralizing.

17. Little or None. W Africa, Upper Volta, In collective wailing for the dead each mourner expresses his personal sorrow, and the effect is often chaos. The Dogon, famed for their cosmogony and their elaborate rites for the dead, say, 'To mourn the dead is to sow the grain'p and here cries of mourners fall on the cars, irregularly, like seeds from the hand of the sower. (Gaisseau #2, 1) - 038"

18. Maximal. East Europe, U.S.S.R.l Karelia. A choir of peasant girls from the northern wooded province near Finland sin-ging in the cohesive style of the Russians. (Russia. #1, A7) - 0'29"

19. Repeat of #'s 17 and 18 - 0'41"

20. None. Repeat of #17 - 0'37"

21. Mimimal. Afro-America, West Indies. Carriacou sea peasants spontaneously join in on a little refrain that animates a traditional cante-fable or tale-with-songs. (Lomax #36, 1) 0'33"

22. Moderate. Afro-America, West Indies. Nevis men singing their version of a traditional British sea chanty as they row. (Lomax #36, 4) - 0'38"

23. Unified. North America, Southwest. Taos Pueblo men singing a gambling song in the unified style they achieve through ehearsal and, presumably through life-long, face-to-face cooperation is in a wide range of other activities. (Rhodes #3, A2) - 0'44"

24. Maximal. Repeat of #18

THE RHYTHMIC RELATIONSHIP WITH THE ORCHESTRA (14) - Whereas singing can occur anywhere without preparation, orchestral music involves the manufacture of instruments and some basic scheme for ordering parts and sounds. Probably the earliest functions of orchestras were to assemble groups or to frighten away enemies or predators or to represent the supernatural - all ways of symbolizing the power of society. At any rate, the complexity of orchestral organization and the disciplined subordinating of its parts varies with the size and scope of a culture's political organization. Solo or unison types are commonest where political authority is minimal or absent; polyrhythm where moderate states are established; accompanying and counterpoint where there are sizeable states (Lomax et al. 1968: 139ff).

35. East Africa, Tanganyika Region. The Gogo are terracers and cattlemen living in dispersed homesteads in complementary and solidary communities linked in a tribal confederacy ruled by kings. The lead instrument is a 20-note mbira, with a mechanically boosted bass. (Tracey #2 TR-154 B4) - 1'13"

36. Rhythmic Heterophony. E. Asia, Korea. A semi-professional orchestra of this highly stratified and centralized society plays a S.E. Korean traditional 'hymn to the god of the house site' on a flute, hourglass drum, and oboe. Heterophony may symbolize the respect relationship (inferior trailing superior), consonant with the absolute power resident in oriental despotisms. (Masu, B 32) - 0'42"

37. Rhythmic Unison. E. Africa, Tanganyika, Hehe. (See #13) Clapping in rhythmic unison is most common in simple polities or else in the performance of female or children's groups in more complex cultures, as here. Female group. (Tracey #2/ TR-157 B1) - 0'45"

38. Accompanying. N. America. An Afro-American country jazz band performs the blues, wIth a whisky jug for a tub st ings for a rhythm section and a harmonica playing the lead parts that the clarinet and trumpet usually take. The accompanying relationship, in which parts are subordinate to the lead, is commonest where a relatively strong political system exists. (Smith, Harry, A2) - 0'45"

39. Rhythmic Counterpoint. Central Europe, Mass in B Minor by J.S. Bach. The symphonic form is the outcome of the Old European choral contrapuntal tradition, combined with the episodic cyclic choreographies of its country dance. Moreover the disciplined interaction of the sections in a symphony reinforce the orderly patterns of serial coordination essential in the stratified culture of Europe. (Bach # 1) - 0'56"

40. Polyrhythm. S. America, Brazil, Afro-America. Yoruba songs and rites, unremembered in Nigeria, survive in the cults of Bahia in polyrhythmicallyaccompanied songs like this hymn to Shango, god of thunder. Polyrhythm can be described as a coordination of conflicting and independent parts. This pattern, so common in Africa, may symbolize the authority structure of the lineage state. At the centre, a royal lineage is first among several family lines. Community affairs are fundamentally regulated by a council composed of the powerful members of the local lineage. In both cases decisions are made within a far less centralized system than the typical European or Asian state. (Dreyfus-Roche #2, B2) - 1'11"

41. Rhythmic Heterophony. E. Europe, Slovakia. The heterophonic relationship within this wind and string ensemble may be a heritage from an Imperial Byzantine past. (Czechoslovakia #4, B3) - 0'46"

42. Rhythmic Heterophony. The Balkans, West Macedonia. Here an orchestra of winds and drones play, as two or three circles of dancers move round in a big wedding dance, held at the center of the village. Orchestra of clarinet, cornet, trombone and two drums. (Notopoulos #1, B5) - 0'42"

43. Rhythmic Unison. N. America, Afro-America, Mississippi. A sample of the musical motive power that cleared the land and greened it with crops in black Africa and then in the lands the blacks tilled round the Caribbean. This praise of a longed-for woman filled the air of the prison with an unquenchable, joyous thunder. Male solo and chorus accompanied by axes on logs. (Lomax #14, B1) - 0'49"

44. Accompanying. Europe, N. Spain. A Basque girl sings a dance tune to the tambourine and alboca-a peculiar form of the double oboe, once popular all around the Mediterranean., Female solo. (Lomax #21) - 0'41"

45. Accompanying. Ladino love song with lute, flute and drum. (See Line 2, #4) (Stambler, A1) - 0'38"

46. Accompanying. S. Africa, S. Rhodesia. Boys in a gym class clash their wooden dumb-bells together to the rhythm set by their drummer-song-leader. Male leader and chorus with drum and sticks. (Tracey #2 TR-173, A1A) - 0 '58"

47. Rhythmic Counterpoint. E. Africa, Madagascar, Sakalava. African cattle farmers on the huge island where the presence of Malay language indicates an early tie to Indonesia. The hocketing style of this tune, performed an seven whistles, may point to another element in the island's culture - to Madagascar's Cushitic settlers or to the pygmies who, some observers say, still live in the depths of Madagascar's jungles. (See Consensus #19) (McLeod #1, 1) - 0'40"

48. Rhythmic Counterpoint. E. Europe, Russia. Bowed lutes play in a traditional intertwining style that has contributed an important element to European art music. (Russia #2, record 5, #2) - 0'59"

49. Polyrhythm. C. India, Gond. Highly solidary and complementary tribal gardeners, whose performances are typically alternations between male and female groups, with sticks, drums and flutes in polyrhythm. (India #2, 3) - 0'59"

50. Polyrhythm. Australia, Arnhemland, Jiwadja. A song describing a big salt-water fish swimming along. Male group with horn and sticks. (Elkin #3, B2) - 1'09"

51. Polyrhythm. Africa, Middle Congo, Koukouyou. A typical example of African style where tension is heightened by juxtaposing two different kinds of voices (one sweet, one extremely harsh) and two different metem (Schaeffner and Rouget, B33) - 0'33"

52. Polyrhthm. Repeat of #40 - 1'04

53. Test #1. S. Europe, Castile. La Mancha village girls with tambourine and clapping accompaniment singing a "villancico" (carol) 'Let's go, shepherds, let's go to Bethlehem'. (Lomax #25, B7) - 0'26"

54. Test #2. N. America, S.W. Louisiana. A Cajun waltz of the type called 'fais-do-do" ("go to sleep') because it was played for the grown-ups to dance while the babies slept in the next room. Fiddle and guitar. (Bonstein, B 1) - 0'27"

55. Test #3. S.E. Asia. A Burmese classical piece about the strange and beautiful flowers of the Burmese forest, played on the pattala (xylophone) and flute. (Myint A7) - 0'24"

56.. Test #4. E. Europe. A Latvian radio orchestra playing a European fine art arrangement of a Latvian folk dance tune. (Russia. #1, C5) - 0'40"

57. Test #5. S. America, Peru. A mestizo dance tune for flute and drum@ such as a Spanish shepherd might play on pipe and tabor, but with much shorter phrasing and far less variation. (Duvelle #2, B10) - 0'25"

58. Test #6. Afro-America, West Indies, Grenada. A local Shango cult leader and her neighbors sing in overlapping, two-phrase unison, accompanied by drum and large rattle. Female solo and mixed group. (Lomax #36, 1) - 0'37"

59. Test #7. S. Europe, Greece, Epirus. An interlude in an epic about a brave woman who drowned herself to avoi!';ns-lavement by the Turks, saying: 'May I never be seen to bow and kiss hands: I am the wife of Botzaris and sister of Notis, I carry bullets in my skirt...' Violin, clarinet and plucked lutes. (Notopoulos #3, B1) - 0'27"

60. Test #8. C. Africa, Nyasaland, Nsenga. Three women pound grain with pestles and mortars and sing in a relaxed, breathy vocal style. (Blacking and Apthorpe, A4) - 0'23"

61. Test #9. E. Europe, Russia. A rozhok (cornet) ensemble from Great Russia, playing a traditional style That:-forms one of the elements in the symphonic tradition.(Russia. #2, Record l #4) - 0'36"

62., Test #10. E. Africa, Central Sudan, Mayogo. These are jungle cultivators with a complementary division of labour, a system of patrilineage and a modest level of political centralization. A dance song for two great circle-files, men inside, women around them, with music by three slit drums, four deep drums, one double bell and male leader with mixed chorus. (Tracey #2, TR-118, B1) - 1'34"

TESTS - 1. Unison/ 2. Accompanying/ 3. Heterophony/ 4. Counterpoint/ 5. Accompanying/ 6. Polyrhythm/ 7. Heterophony/ 8. Unison/ 9. Counterpoint/ 10. Polyrhythm

THE RHYTHMIC RELATIONSHIP WITHIN THE VOCAL GROUP (12) - Multi-layered rhythmic organization in the vocal part seems to reflect an aspect of inter-personal relationships, in that accompanying, polyrhythmic and contrapuntal rhythmic relationships between the vocal parts occur more frequently in complementary cultures.

63. Introduction. Indonesia, Balinese Kechak (monkey dance). The moment in the Ramayana drama, when the monkey arm7 rescues lita, pits a legato female choir against an accelerating background, in imitation of monkey chatter. Male group, female group with drum. (Kunst & Lomax, B28) - 0'53"

64. Non-Patterned. S. America, Interior Amazonia. Coto (Orejon) Indians collectively wailing over a corpse. Their synchrony is minimal - similar action, but no coordination - the sound of a herd or a cocktail party. Mixed group. (Chapelle & Marion, B2) - 0'29"

65. Non-Patterned. Australia, Arnhemland. A sacred chant of the Marajin aborigines and led as in #1. Mixed group. (West, B8) - 0'58"

66. Rhythmic Heterophony. E. Asia, Japan. A Tokyo builders' work song for heavy lifting, as when the center post of a shrine is to be raised. Male group. (Masu, A10) - 0'42"

67. Rhythmic Heterophony. S. Asia, S.India, Madras. A former high-court judge, turned temple singer, is respectfully trailed through a Tamil devotional song by his acolyte. Two males with a drone. (Danielou #2, B13) - 1'02"

68. Rhythmic Unison. N. Europe, N. England. Durham is the location of the oldest British coal pits and of this version of the medieval Lord Randall ballad. Two females. (Seeger & MacColl, A2) - 0'38"

69. Rhythmic Unison. C. Europe, Lithuania Kupsikis. An amateur chorus does a concert version of an old wedding songs very Germanic in its melody and harmony. (Russia. #1, C6) - 0'46"

70. Accompanying Rhythm. Afro-America, West Indies. Carriacou, the island of sea-gardeners, shows its African mettle in a racy, polyrhythmic transformation of a conventional Protestant hymn. Mixed group. (Lomax #36, 6) - 0'34"

71. Accompanying Rhythm. East Asia, Ainu. Fisher-gatherers of N. Japan rejoicing over the bounty of a beached whale, in a poly-parted style widely distributed in the Circum-Pacific; Pomo, Dani and Yukaghir perform in strikingly similar ways. Mixed group. (Kondo,6) - 0'38"

72. Rhythmic Counterpoint. C. Africa. Mbuti Pygmies singing a party song in their interlocked, canonic style. Male group. (Turnbull #2, 7B) - 0'34"

73. Rhythmic Counterpoint. E. Europe. The mountain-locked valleys of Georgia in the Caucasus preserve this modern survival of a primeval, interlocked style of counterpoint, once widely known n East Europe. (Russia #10, B5) - 1'01"

74. Polyrhythm. Afro-America. Trinidad Bongo dancing enlivens the nine-day wakes of Trinidad. Because drums were once legally out-lawed, the bongo rhythmic background is still performed on disposable bamboo strips or with mouth music. Male group accompanied on sticks. (Lomax #36, 7) - 0'45"

75. Polyrhythm. Repeat of #63.

76. Test #1. South America, Brazil, Juruna. Only a few families remain of these Tupi-speaking fishermen-cultivatdrs of the Upper Xingu. They sing in the low register frequent in this region and among Southeast Woodland Indians like the Creeks. Male group. (Schultz & Chiara, Bl) - 0'38"

77. Test #2. E. Asia. The Ainu, who speak a language with no known relation to others, are complementary fishers, hunters and worshippers of the bear, with a PaleoSiberian style of vocalizing that seems the progenitor of a range of Circum-Pacific styles - from California to Siberia. Mixed group. (Mariani, 10) - 0'36"

78. Test #3. Afro-America. A Virginia spiritual describing the coming of the gospel train on the day of resurrection. (Lomax #15, A1) - 0'40"

79. Test #4. South Asia, Nepal, Gurung song. (See Lines 4 & 7, #5) - 0/53"

80. Test #5. North America, Southern white spiritual. The Sacred Harp tradition in spirit which country choruses, divided into four parts, sing written folk arrangements of traditional sacred songs. Mixed group. (Lomax #59 B7) - 0'38"

81. Test #6. Central Africa. Bebenzele Pygmies with a song that was once magic for the hunt and has now become an entertainment piece. Mixed group. (Shaeffner & Rouget, B36) - 0'42"

82. Test #7. Middle East. Dervishes hold hands as they do knee bends and breathe in concert with ever-increasing hyper-ventilation and the leader's chant increases in tempo and tension. Male group. (Levy #2, B5) - 0'37"

83. Test #8. East Africa, Madagascar. Ambalanosy village girls chanting the rhythm for a male wrestling match in which the combat takes the form of a syncopated dance.Mixed group. (McLeod #2, 2) - 0'55"

84. Test #9. Malaysia, N. Philippinesy Hanunoo. Six male spirit-mediums, of this egalitarian forest-dwelling tribe, join together in a slow, moaning chant to rid the village of labangs (evil spirits). (Conklin, A 11) - 0'30"

85. Test #10. Malaysia, C. Borneo. Dusun women, who are more than equal to their meny perform a drinking song in bold harmony. (Polunin #2, 3b) - 0'53"

86. Test #11. Central Africa. Mbuti Pygmies sing one of the most beautiful of all songs, an echo of a living Golden Age culture, hidden in the depths of the Ituri Rain Forest. Mixed group. (Turnbull #2, B20) - 0'42"

87. Test #12. North America. Southern white spiritual - inspired folk text set to one of the basic British folk tunes sung in book-learnt harmony by rural whites at a singing convention in N. Alabama. Mixed group. (Lomax #5, A4) - 0'50"

TESTS - 1. Unison/ 2. Non-patterned/ 3. Accompanying/ 4. Heterophony/ 5. Counterpoint/ 6. Polyrhythm/ 7. Accompanying/ 8. Polyrhythm/ 9. Non-patterned/ 10. Heterophony/ 11. Counterpoint/ 12. Unison