FTX-789 THE WORLD ENCOMPASSED - THE COMPLETION OF THE COURSE

The listener (student ot teacher) should keep a careful permanent record of the final codings of all the songs on this CD. It might be a good idea to prepare a grid for the entries with the columns for the songs and the rows for your measurements. When all the rows and columns on all the measures have been filled in and words substituted for the abbreviated codes, you will have created your own picture of the world of song in some of its most important and interesting variations. Reviews of this hard-won ground, noting how the single codes combine to form distinctive sub-patterns and how these sub-patterns together create a rainbow of effects is good preparation for the next step in World Encompassment - the coding of whole songs and music styles.

01. Afro-America, Virginia. A well-rehearsed black choir performs a traditional spiritual in pre-gospel style, using the liquid vocal tones for which American black singers were once celebrated. Male leader with mixed chorus. (Lomax #15, A1) - 1'29"

02. West Europe, Ireland. A randy 18th century ballad of a soldier's encounter with a willing maid, sung by the great Irish folklorist and performer, Seamus Ennis. (Kennedy & Lomax #3 B1) - 0'45"

03. North America, Huron Iroquois. A thanksgiving ritual Corn Dance song from the contemporary religious observances of the Huron-Iroquois tribes of the N. East, led by a Cayuga. (Barbeau #1 A4) - 0'55"

04. South Asia, India. West Bengal love song,in which a lover compares his sweetheart to a flower, sung by a male with a bowed lute (israj) and plucked lute (sitar). (India #3, A1) - 1'23"

05. North America. A Virginia Mountain Bluegrass band performs the classic southern black American ballad about "John Henry". Male solo with violin, two five-string banjos, guitar, mandolin and bass. (Lomax #9, A7) - 0'58"

06. Indonesia. Java. Here there are thousands of 'gamelan' orchestras, composed of sets of metalophones and xylophones with chordophones, oboes and drums as leads. This one accompanies a virtuoso in a highly embellished, rhythmically-free performance. (Kunst & Lomax, B30) - 2'17"

07. E. Europe, Bulgaria, Sofia District. The clashing seconds, that figure so prominently in many of the field songs, help to carry the sound far.- Actually, one of the many functions of such songs is to let the people of the village know that all is well with their women in a distant field. Three women. (Lloyd #1, A7) - 1'02"

08. North America. Southwest Navaho. Masked dancers, representing the grandfathers of the gods, perform this yeibichai chant with its characteristic high-pitched sound, at the time when the young people are initiated into the ceremonial life of the tribe. Male singers with rattles. (Rhodes #3, B1) - 1'23"

09. Mexico, San Luis Potosi. A Huastecan son (dancing song) typical of the enormous and brilliant genres of Mexican semiprofessional, folk-popular music, where elements of Amerindian, African and Hispanic traditions mingle. Two males with violin, bass guitar and tenor guitar. (Stanford & Warman, B5) - 1'34"

10. Northwest Africa, Senegal. A Casamence griot (bard and topical composer), accompanying himself on the kora (21-string harp-lute). Griots were the historians, genealogists, propagandists, social critics and entertainers of West Africa. They could puncture reputations and bring down the great with their musical barbs and no public festivity was complete without them. Male solo with harp-lute. (Nikiprowetzky #1, A2) - 1'07"

11. Melanesia, N. Britain. 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. (Schwartz, 1) - 1'07"

12. North America, California, Hupa. Vocal polyphony is virtually unknown among North Amer-indians, except among the complementary acorn-gathering tribes of North California, who habitually sing in this style. Three men. (California, 5) - 1'28"

13. Africa, Zimbabwe, Shona. In the Shona folktale a deer sings this song - and it is similar to many such 'story songs' in the African tradition. Mixed group. (Tracey #2/ TR-174, B1) - 0'36"

14. East Asia, Japan, Kyushu geisha accompanied by zither, lute, flute, gong and drum sing about the experiences of a girl during the period of trial marriage. (Masu, A3) - 0'56"

15. Afro-America, Trinidad. The Tiger, a calypsonian star improvises a satirical portrait of a well known local character- the kind of song that might be employed in a battle of wit and improvisation between two calypso singers. (Lomax #36) - 0'47"

16. North America, Pueblo, Zuni. Carefully rehearsed and performed so as to induce the gathering of the clouds and the coming of the rains. The Rain Dance has as big and complex a melodic and choreographic structure as any art form in the world. Mixed group. (Rhodes #3, A4) - 1'46"

17. South America, Interior Amazonia, Jivaro. A woman sings about the loss of her lover, using the wide leaps, the liquid notes and the wide range characteristic of this region. Female solo. (Luzuy, A7) - 0'27"

18. Polynesia, New Zealand, 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. (New Zealand, A4) - 1'21"

19. East Africa, Madagascar. 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. (Schaeffner & Rouget, B1) - 0'59

20. Central Asia, 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. (Russia. #7, 1) - 1'08"

2l. Central Asia, Turkmen. Another 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). (Russia. #7, 1) - 1'42" 1

22. East Europe, Roumania, Bucharest. The doina belongs to the Mediterranean high culture syndrome that includes the raga, the maqam and other ornamented, freeform melodic styles, another evidence of the ancient connections between Southern Romania and the High Cultures of the Mediterranean. The singer, Marie Lateretu, now dead, was, in my opinion, one of the world's great vocal artists. (Alexandru #1, A19) - 2'15"

23. Central Europe, Italy, Liguria. On moonlit nights the men gather on the bridge over the little mountain river and sing such medieval ballads as this one of the captain's daughter. The polyphonic style is part of a general Ligurian tradition that may link this ancient colony of the Iberians to Georgia in the Caucasus. Male group. (Lomax #39) - 1'12"

24. East Europe, 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. (Russia #4, A2) - 0'58"

25. Australia, Northern Territory Aborigines. The songman beats two sticks together and the dijeridoo-player breathes rumbling notes from his hollowed tree branch making music for the evening dance. The men dance before the musicians at the campfire - the women a little way off in the shadows - and from time to time the leading dancer gives a climactic cry. Two male solos with male chorus, horns and sticks. (Elkin #6) - 1'05"

26. Melanesia, 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. (Muller, A1) - 0'58"

27. East Africa, Ethiopia, Gomo-Gupe Province. Fifty men of the Cushitic-speaking Dorze tribe casually sing in four-part polyphony in the yodeling, interlocked style of the African gatherers. (Jenkins, A1) - 0'52"

28. North Africa, Morocco. 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. (Lomax #38, 2) - 1'10"

29. West Africa. Ivory Coast, Bedouni Region. The Baule are famed for their art and music. To my mind, their style is one of those most often heard in West Indian, traditional folk music. This is music for initiation, with overlapping choruses, four drums, rattles and a sistra. (Duvelle #3, A8) - 1'24"

30. 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, are the product of expanding, well-fed, unified and cohesive societies. Male and female group. (Beckett) - 2'09"