FTX-786 - THE WORLD ENCOMPASSED - 8 CDs - vol 6

INTERVAL SIZE (21) - Like the embellishments of which they form a part, narrow intervals seem to be most frequent where there is much social stratification. The explanation may be that in a situation where one is continually addressing a person of higher or lower status restraints are imposed on the interaction so that it proceeds carefully- in small steps.

01. Introduction. Verv Large. C. Africa, Middle Congo, Babanzele Pygmies. A female yodeling work song from this Stone-Age gathering cultur forest, where women are the chief producers and are socially dominant. (Marshall & Rouget #1, A2) - 0'10"

02. Small. Malaysia, N. Borneo. The Sea Dyak (Bajau) are also known as sea-gypsies, because they live and work and move from place to place in big family canoes, harvesting the shallow tropic seas and selling the sea weed and sea slugs they collect. They are Moslem converts, and here a woman embellishes verses from the Koran. (Polunin #1, A9) - 0'14"

03. Very Large. N. America, Pueblos. The people of Taos, though they live in a superb pueblo, are Plains in origin. In the summer the young men gather at the bridge and sing in the moonlight - songs like this dance tune, its high pitch level reminiscent of Plains singing. (McAllester & Brown, A1) - 0'14"

04. Monotone. Australia, Aborigines. These nomadic stone-age gatherers have developed ceremomalism and, it is said, psychological control to an extraordinary degree. Their elaborate, totemic rituals are passed along through such songs as this. Male with sticks. (Elkin #2) - 0'17"

05. Small. #2 Repeated. - 0'16"

06. Small. Balkans, East Serbia. A springtime ritual song from a region long dominated by the Turkish Empire with its oriental culture. (Kennedy #1, B4) - 0'19"

07. Monotone. E. Asia. Japanese Zen. In this Zen style the sound should flow on and on like a waterfall, cleansing the mind of thought, leading to meditation. Male group. (Mitchell, A5) - 0'16"

08. Small #2 Repeated. - 0'16

09. Medium. C. Europe. A standard German youth movement song with 'funny" words, about the death of the pastor's cow, and with the diatonism so prevalent in Middle Europe that one suspects that it is original to this part of the world. Female solo. (Vopel, B4) - 0'31"

10. Medium. W. Europe, France, Berry. Remote country districts in France still stage elaborate wedding ceremonies, with banquets that last for a day or two and many traditional wedding songs like this one. Male solo. (France, A4) - 0'33"

11. Large. S. America, Interior Amazonia. Jivaro country is richer in protein than most of Amazonia, partly because the hunting is good and the population low, but also because the beer, made by the women to bring home the hunter and entertain headhunting allies, is protein-rich. A woman's love song. (Luzuy, A9) - 0'31"

12. Large. Melanesia. Solomon Is. Buin Area. The songs in this pig-and- root, complementary zone, are often polyphonic and reminiscent of black Africa- like this song for the preparation of a feast. Mixed group. (Sheridan B7d) - 0'18"

13. Very Large. #1 & #3 Repeated. - 0'13"

14. Monotone. S.E. Asia, Thai. A Lua field song. Their shifting and fallowing system of digging- stick agriculture puts minimum burdens on their hillside, jungle farmland. (Kunstader, 1.8) - 0'17"

15. Small. S. Asia, India, Tamil. In our theory both the ornamentation and the narrow intervals of this superb devotional raga are symbols of the layered, caste-ridden, patriarchal, sexually restrictive societies where they jointly occur. Male solo. (Asch, A2) - 0'20"

16. Medium. W. Europe, Ireland. The ancient practice of keening (lamenting) the dead has been forbidden by the Church and is now rare. Here a child is lamented in a rubato, embellished style. Female solo. (Ennis & Lomax, B28) - 0'25"

17. Large. Anglo-America, Kentucky Mountains. a play party (sung dance) piece sung by the great lady of American folk music, Jean Ritchle. (Ritchie, A4) - 0'18"

18. Very Large. Europe, N. Norway. The Lapps share their nomadic hunter and reindeer-herding culture and their glottalised, irregularly phrased, metrically irregular style with all Northern Siberians. In fact, with its wide intervals and its heavy use of nonsense syllables, this style appears to be primal for Amerindia, turning up frequently at the other extreme of Boreal migration, in Tierra del Fuego. (Laade & Christiansen A1.8) - 0'20"

19. Test #1. East Asia, Japanese Zen. A Butsuden chant, the type to which Zen monks devote many of their waking hours. (Mitchell, A 11) - 0'25"

20. Test #2. N. America. The Navaho, once hunter-gatherers, became pastoralists and silversmiths and dry wash farmers under Spanish influence. This is a modern piece, with harmonica accompaniment. Mixed group with drum. (Rhodes #1, B2) - 0'41"

21. Test #3. E. Europe. Bulgaria. As in much of old Europe, much work (and courtship) is done at evening work-bees, where this riddling ballad was sung. Male solo. (Lloyd # 1. B21) - 0'40"

22. Test #4. W. Europe. A lyric song celebrating the remembered beauties of the old home place (in this case, Setesdale) - a persistent theme of Northwest Europe. Male solo. (Norway #1, A6) - 0'27"

23. Test #5. S. Asia. The highly stratified and rule-bound old high culture of India produces such highly embellished songs as this piece for the ashram where the Vedantic traditions of Yoga are inculcated, in part, by such chants (Shepard #1, A lc) - 0'29"

24. Test #6. S. America, Interior Amazonia. One constant theme of aboriginal life in game-poor Amazonia is the dependence of women on their hunter mates for the needed protein, meat; here a woman laments her husband's departure. (Luzuy A7) - 0'35"

25. Test #7. Europe, N. Spain, Basque Provinces. The Basque culture and language and their democratic and complementary society antedate that of Spain. They have fought and are still fighting to maintain cultural autonomy. A love song from a corn-shucking bee. Female group. (Lomax #21 A10a) - 0'36"

26. Test #8. S. America, Gran Chaco. The Matacos once were warlike mounted hunters of the pampas, raiding white settlements; in many ways, as in their music, they resemble the North American Plains Indians. Male solo. (Novati, A5) - 0'22"

27. Test #9. Malaysia, N. Borneo. The Murut are jungle, shifting-field, rice cultivators. This is a topical song improvised by a male singer at a drinking party. (Polunin #1, A2) - 0'43"

28. Test #10. S. Africa. The Shona are maize planters and cattle herders and extraordinary musicians, as this performance by a group of blind singers testifies. The bugle note is produced by breathing in past the palm leaf string of the musical bow. (Tracey #2/ TR-175, B8) - 0'41"

TESTS: 1. Monotone/ 2. Large/ 3. Small/ 4. Medium/ 5. Monotone/ 6. Very large/ 7. Medium/ 8. Very large/ 9. Small/ 10. Large

THE POSITION OF THE FINAL TONE (19)

29. Intro U.S.A, Virginia Mts. A modern hillbilly religious song, blue-grass style. Male group with,strings. (Lomax #101 A4) (Note: Most points are first illustrated then demonstrated.) - 0'32"

30. Lowest note. South America, French Guiana. Kalina Indians, jungle fishers and manioc gardeners, sing a song of nonsense syllables, set to an irregular meter. Male solo. (Viane's, A1)- 0'18"

31. Lower half. East Europe, Lithuania. A sutartine (choral round), the oldest Lithuanian song form - kin stylistically to the hocketing songs of Georgia and the African Gatherers. (Russia. #11, B2) - 0'16

32. Upper half. C. Asia, Nepal, Tamang. (See Line 17, #8.)(Pigne'de, B2) - 0'18"

33. Test #1. C. India, Madhya Pradesh. The Hill Saora Tribe; a ricefield work-song with much repetition and a narrow range. (Sweden #3, B2) - 0'37"

34. Test #2. C. Europe, Germany. Woodcutter's yodel. (See Line 109 4P3.) - 1'00"

35. Test #3. W. Europe, Hebrides. A Gaelic lyric concerning the beauties of nature. Female leader alternating with mixed chorus. (Lomax #33, B2) - 0'58"

36. Test #4. C. Europe, N. Hungary. A ballad of an outlaw hero performed in declamatory style with wide leaps in irregular meter. Male solo. (Hungary #1, A7) - 1'18"

37. Test #5. C. Asia. Buryat Mongols, descendants of the riders of Ghengis Khan, employ an ornamented bardic style, as in this solo drinking song with a heterophonically related lute accompaniment. (Russia. #7, 4) - 0'34"

38. Test #6. S. Europe, Spain, La Mancha. A petition to the Virgin for rain. Female solo. (Lomax #25, B9) - 1'10"

39. Test #7. U.S.A, Western. A recently minted, ballad in irregular meter. Male solo. (Goldstein #2)

40. Test #8. S. America, Brazil, Xingu River, Shukarramai. Fishing and gardening and clan organized villages. (Schultz & Chiara, B6) - 0'36"

41. Test #9. U.S.A., Southwest. An American variant of the ballad of the lady who eloped with the gypsy. Female solo. (Corlander #2, B II 2) - 0'41"

OVERALL RHYTHM - VOCAL (11) - The degree of regularity in vocal rhythm seems to be a function of the degree of indulgence in child rearing. In cultures where infants are not indulged, regular rhythms tend to be more frequent, whereas indulgence of infants is associated with irregular meters. This might be seen as preparation for the patterns of adult life, since developed states and animal herding, which depend upon discipline and order, weakly predict regular meter. Irregular meter on the other hand is significantly more frequent in relatively simple, pre-animal husbandry economies; it also weakly predicts low stratification. (Note:"RR" means that the meter is being marked by Roswell Rudd,)

42. Introducrion - 1'17"

43. OneBeat.' Middle East, Dervish. One-beat meter is rare in the vocal part except in children's songs or football yells, or, as here, in ritual. (Levy #2, B5) - 0'25"

44. Onebeat. S. Asia, Thailand. Kai Chai Son Jungle Negritos, the hunting-gathering aborigines of the region with a song to banish evil spirits. Female solo. (Cambridge Expedition, B.B.C., A4) - 0'46

45. Simple Meter. (RR) Afro-America, Georgia Sea Islands. Bessie Jones sings a tradtitional Southern lullaby to the kind of regular, simple meter most characteristic in agricultural societies where it may stand for the regular routines essential to farm work. (Lomax # 16, B12) - 0'51"

46. Simple Meter (RR) N.E. Hebrides. A Gaelic work song for waulking (fulling and shrinking) the tweed. Female leader and mixed group. (Lomax #33, B1) - 1'11"

47. Simple Meter. (RR) Portuguese Children's carol announcing the birth of Jesus. (See line 6. Test 2, and Lines 4 & 7, #6.) (Boulton #2, B1) - 0'45

48. Simple Meter. (RR) A Bulgarian trained chorus with a koledarski- a pagan mid-winter song where the singer can offer praise or wish luck or health to the household. (Lloyd #1, B32) - 1'14"

49. Complex Meter. (RR) A topical song concerning the revolt of Lapp religionists against the Norwegian church in which Lapps drove their knives straight into the hearts of their enemies as if they were slaughtering reindeer (Laade & Christensen A4.26) - 1'13"

50. Complex Meter. (RR) South Asian Indian Indian Oriya tribal song about Sita and Ravana of the Ramayana legend. (Sweden #1, B3) - 0'52"

51. Complex Meter. (RR) A Bulgarian woman with gauida (one-drone bagpipe) and kaval (seven-hole flute) performing in the aksak (limping rhythm) common in the Middle East and Eastern Europe. (Lloyd #1, A17) - 1'30"

52. Irregular Meter - R.R. demonstrates - 0'31"

53. Irregular Meter. (RR) Spain. Esrtamaduran shepherd villages preserve many old romances (ballads). This one is about the amorous adventures of Don Carlos, son of Phillip II. Female group. (Lomax #26, B12) - 1'42"

54. Irregular Meter. (RR) The Comanche, formerly hunters and fierce warriors of the Texas prairies, perform a Christian hymn in their own tongue. Irregular meter is commonest in such simple preforming economies. (Rhodes #4, A2)- 1'17"

55. Irregular Meter. (RR) E. Africa. The Pari, one of the many Nilotic herding tribes of Eastern Sudan, whose style lies somewhere between black Africa and Melanesia, present a praise song to the chief. 20-30 women with a female leader. (Carlisle #3, 9) - 1'28"

56. Free Rhythm. Malaysia, Borneo, Sarawak. An embellished.Sea-Dyak song recorded from a radio broadcast. Female solo. Maceda #2, 5) - 0'54"

57. Free Rhythm. N. Africa. A Saharan Tuareg man accompanied on a one-string fiddle sings, "All day I have been in pain; I am like a child who hates even his mother's breast; all I desire is the tall girl whose beauty surpasses the stars in the Southern Cross". (Nikiprowetzky #2, B3) - 1'11"

58. Test # 1. E. Europe, Georgia, Sidili. Twelve farmers, fresh from work, lay down a varying polyphonic drone while two male soloists sing a heroic duet. (Lomax #37, 1) - 0'50"

59. Test #2. Malaysia, E. New Guinea Highlands, Dani. This canonic polyphony reminds us that the Dani were formerly gatherers. Its accelerating rhythm renews the singers' courage and prepares them to attack a nearby group that has slain one of their tribe. (Rockefeller and Gardner, 51) - 0'27

60. Test #3. C. Asia, Russia. The Kazakhs were formerly nomadic pastoralistry 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. (Russia. #8, A1) - 0'56"

61. Test #4. S. Africa, Ndau. A composer-bard of a black African farming and cattle-herding people sings elegant syncopation against the rippling polyrhythms he thumbs on his mbira. (Tracey #2/ TR-205, B5) - 0'35"

62. Test #5. N. America, Southwest. The Papago are incipient producers in the arid Rio Grande country with a preference for cohesive unison performance of simple rather than complex strophes. Male group. (Boulton #1 B6) - 0'49"

63. Test #6. S. America, Interior Amazonia, Amahuaca. The banana-festival dance of this acephalous tribe of hunter-cultivators, who live in tiny homesteads scattered through the mountainous jungle. Male group. (Dole, 9) - 0'26"

64. Test #7. C. Africa. Bapende children from this root-crop, small animal, gardening economy sing in an overlapped, parallel-chord, unified, liquid-voiced style. (Verwilghen #19 B7) - 0'39"

65. Test #8. S. America, Interior Amazonia, Conibo. The women of this acephalous fishing tribe wail over a corpse. Later, custom demands the body be sealed up in an old canoe and hidden in the jungle. Female group. (Tschopik, B13) - 0'52"

66. Test #9. S. Asia. Assam Abor hill tribes, living in smally solidary, independent villages with a complementary extensive agricultural economy, have a polyphonic song style half-way between that of Polynesia and Africa. Mixed group. (India #4, A2) - 0'46"

67. Test #10. S. Asia, Kerala. Nyar women circling a lamp, clapping and singing - as is their custom during summer planting - a song in which the wives of a prince praise their husband. (Levy #1, B3) 0'57"

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

PHRASE LENGTH (17) - The strong social correlations of phrase length are with child rearing - short phrases with severe, long phrases with indulgent systems, and medium length phrases with a high demand for obedience. This might be interpreted to mean that cultures which do not limit the child's social input establish a preference for long drawn-out phrasing; whereas those societies which demand quick, brief responses from children set the stage for the short phrases. This speculation is all the more interesting since both symmetry and rhythmic regularity, two other controls of interaction, seem also strongly linked to variations in childhood experience.

68 - Africa, The Sudan. The Shilluk - a pastoral milk- beef - millet-raising, semi-nomadic people of North-east Africa, who have a different cultural, linguistic, and expressive tradition from the generality of black Bantu Africans. Here a Shilluk chief tells in rather short phrases, how he avoided war over a water-hole and led his people to a peaceful place. Male solo. (Carlisle #1, 6) - 0'30"

69. E. Asia, Japan. The herring-fishery. workers sing to celebrate a successful springtime catch, using rather long phrases and much embellishment. Male solo with flute (shakuhachi). (Masu, A2) - 1'21" 70. West Europe, Orkney Islands, northeast of Scotland. Medium phrases, organized into simple strophes, are typical of the Northwest European style that shaped America's frontier balladry. However, the frank approach to sex in these songs, common in Britain, especially in the North, tended to disappear in the more straightlaced American tradition. Male solo. (Kennedy & Lomax #4, A4) - 0'48" 71. Afro-America, West Indies, Martinique. Up in the hills, away from the city and the sugar plantations, the small farmers of Martinique maintain a strongly African pattern of life. Their music, even more clearly than their Africanised Creole, conforms to African models, as in this leader-chorus overlapped, polyrhythmically accompanied social dance song. Male leader with male chorus and three drums. (Lomax #36, 1) - 0'57" 72. Very Long. (with metronone)(See #69) - 1'15" 73. Long. South Europe, Crete, site of the Minoan civilisation that dominated the Eastern Mediterranean around 2500 B.C., preserves a musical tradition linked to those of the Near and Middle East, as in the long, highly melismatic and embellished phrases of this wedding processional. Male group. (Llewellyn-Smith, A5) - 0'51" 74. Medium. West Europe, Ireland. In America this song is known in the sentimentalised version of "I Gave My Love a Cherry", already severely censored by Southern Calvinist singers. This Irish variant of "Captain Wedderbuern's Courtship" is closer to the ancient tale in which a clever man wins the hand of the girl by giving the Answers to rather sexy riddles she proposes. Male solo. (Kennedy & Lomax #2, B1) - 0'32"

75. Short. South Asia, Nepal. A religious chant from the Tamang, a tribe of mountain farmers in Central Nepal near Kathmandu. Male solo. (Piinnede, B2) - 0'43" 76. Very Short. (See #68) - 1'28"

76. Very Short. (See #68) - 1'28"

77. Test #1. The Balkans, N.E. Yugoslavia, Serbia. The ties of much of Serbia to the East, which were only reinforced by centuries of Turkish rule, are perceptible in the ornamental, rhythmically free narrative song about the Turkish wars. Female solo. (Jakobson, 6) - 0'33"

78. Test #2. N. Africa, Tunisia. A song from the Awin, an oasis-dwewng people of Southern Tunisia, in the highly ornamented Old High Culture style found throughout the Sahara, an area repeatedly invaded by Middle-Eastern culture and whose irrigated, date-raising, oasis cities were an early outpost of Middle-Eastern civilization. Male solo. (Laade, A 11) - 0'48"

79, Test #3, Melanesia, Torres Straits, Sabai Island. These once fierce fishing and gardening people guarded the island bridge between S. New Guinea and Australia. The musical style of Sabai, as well as its culture, are 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. (Beckett & West, B lc) - 0'48"

80 Test #4. C. Africa, Luba. One of the great confederations of the Central Congo, with a complementary economy based on jungle gardening and fishing, offers this topical song, self-accompanied on the mbira. This favorite African instrument is composed of metal lamellae (tongues attached to a container and played bilaterally. Male solo with mbira. (Tracey #2/ TR-178, B7) - 0'35"

81. Test #5. W. Africa, Cameroons. (See tape 13, Test #2.) The Bulu, a tribe of the Congo region from which many slaves were transported to the Americas, often sing in ways strikingly common in the West Indies. A woman's dance with female chorus with clapping. (Cozzens, A8) - 0'42"

82. Test #6. C. Africa. From the Luo, terrace gardeners of Nilotic origin in the hills west of Lake Victoria, comes this gently ironic love song to an over-loving wife: "she loves me so much that she forgets her duties and I have to remind her to go back to work". Male solo with string bowl lute. (Tracey #2/ TR-166, B1) - 0'31"

83. Test #7. S. Europe, Corsica. The rugged hills of Corsica have protected many ancient Mediterranean traditions, among them battles of poetic improvisation where local poets spontaneously rhapsodise on assigned themes. This one begins in Virgilian style. "Waken, O my muse, do your best for me". Embellished male solo. (Marcel-Dubois & Andral, A15) - 0'39"

84. Test #8. C. Africa, Hehe. The Hehe, cereal-raising, beef and milk producing hill cultivators, live in dispersed homesteads, in the arid Rift country. This hoeing song which says 'hunger makes me weak' reflects the hardship in their lives. Male leader with male group. (Tracey #2/ TR-157 A10) - 0'29"

85. Test #9. New Guinea, 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. (Sheridan, A4.7) - 0'37"

86. Test #10. C. Europe, Hungary, Trans-Danubia. This lyric, strophic song, from the bend of the Danube has the wide-leaps-that so impressed Bartok and that may indicate the ties of old Hungarian melodism with its place of origin in Central Asia. Female solo. (Hungary #1, B20) - 0'57"

TESTS - 1. Medium/ 2. Long/ 3. Very long/ 4. Very short/ 5. Medium/ 6. Short/ 7. Long/ 8. Very Short/ 9. Very long/ 10. Short