JAAP KUNST

ETHNO-MUSICOLOGY
A its nature, its problems, methods
and
study of
to which is added
representative personalities
a bibliography

MARTINUS NIJHOFF - THE HAGUE

Et lino -muslcology
 ETHNO-MUSICOLOGY

DATE DUE

SEP
 Published with the assistance of
the Royal Tropical Institute, Amsterdam, tinder the auspices of the
International Folk Music Council
ETHNO-MUSICOLOGY
A study of its nature, its problems, methods and representative
personalities to which is added a bibliography

by

J
AAP KUNST
Head-Curator of the Department of Cultural and Physical Anthropology
of the Royal Tropical Institute, Amsterdam
and lecturer in Ethno-musicology at the
University of Amsterdam

Second enlarged edition of 'Musicologica*

THE HAGUE
MARTINUS NIJHOFF
1955
 TO KATY
WHO KNOWS WHY

Copyright Jp55 by Martinus Nijhoff, The Hague, Netherlands

AH rights reserved, including the right to translate or to
reproduce this book or parts thereof in any form

PRINTED IN THE NETHERLANDS

 PREFACE TO THE FIRST EDITION

This booklet hardly needs a preface; the contents, I think, speak for
themselves. It contains a short and carefully brought up to date resume
of all that I, as a private University Lecturer in Amsterdam, have tried to
teach my pupils.
It is intended as a general introduction to ethno-musicology, before going
on to the study of the forms of separate music-cultures.
I sincerely hope that those, who wish to teach themselves and to
qualify
in this branch of knowledge, will find a satisfactory basis for selftuition
in the matter here brought together.

Regarding the possibility of a new edition, any critical remarks or infor-

mation as to possible desiderata would be very gratefully received.

PREFACE TO THE SECOND EDITION

My request for critical remarks and desiderata has not been ignored. My
sincere thanks to all who took the trouble to let me know what they missed
in my booklet. Through their collaboration the contents have undergone a
considerable improvement and enlargement as compared to the original
edition issued in 1950 by the Royal Tropical Institute, Amsterdam, under
the title 'Musicologica'.

have taken care to add many particulars from non-European sources,

I

with the result that now the book is no longer so Europe-centric as it was.
Furthermore, I have done my best to mention in a special bibliography
all the more important ethno-musicological publications, with the exception
of those issued in the Russian, Arabic, Chinese, Indonesian, Javanese,
Sundanese and Japanese languages and in the languages of the Indian
subcontinent. Besides, inserted are only books and articles specialized in
the field of ethno-musicology, and not the (numerous) reports and studies
on ethnology in general, in which are included some (often important) data
 concerning the music of the peoples treated. Nor are inserted articles con-
taining too many faulty data and those that are quite antiquated or too
superficial. Admittedly, often I had to make a rather subjective choice; it
has already become an impossibility to give a really complete bibliography .

For many more titles I may refer the reader to the lists found in the works
marked by an asterisk, especially for the musics of Asia to
the excellent and comprehensive bibliography by RICHARD WATERMAN
as. (1860) a for Indonesia to 1 099, and for Negro Africa to 1 822.
;

Finally, I feel impelled to thank Messrs MARTINUS NIJHOFF for the great
care they have given to my booklet and the patience they have shown
in regard to ray wishes.

Amsterdam, ist January, 1955.

J.K.

1
Figures printed in bold type refer to the publications contained in the bibliography on p. 65
etseq.

_6
 CONTENTS

Preface to the first edition 5

Preface to the second edition 5

Manual for ethno-musicologists 9

Bibliography 65

Appendix 117

Illustrations 121

Index of subjects 137

Index of peoples and regions the music of which has been studied or

recorded 142

Index of persons .
150
Wer sich selbst und andre kennt,
Wird auch hier erkennen:
Orient und Occident
Sind nicht mehr zu trennen.

Sinnig zwischen beiden Welten

Sich zu wiegen, lass' ich gelten;
Also zwischen Ost und Westen
Sich bewegen sei's zum besten!

(GOETHE, 'Epigrammatisch')
 .o the question: what is the study-object of comparative music-

ology, the answer must be: mainly the music and the musical instruments
of all non-European peoples, including both the so-called primitive peoples
and the Although this science naturally makes
civilized Eastern nations.

repeated excursions into the field of European music, the latter es-

pecially in its modern art-forms is, in itself, only an indirect object of

its study.
The name of our science is, in fact, not quite characteristic; it does
not 'compare' any more than any other science. A better name, therefore,
is that appearing on the title page of this book: ethno-musicology.

The importance of this, still young, science for our own musical culture
isas yet insufficiently realized in wide circles which really ought to be better
informed. There is among Westerners an inclination to regard all exotic
music, even in highest forms, as nothing more than either expressions
its
of inferior, more primitive
civilizations, or as a kind of musical perversion.
It is not sufficiently realized that Western music, after all, is based on
older forms which are identical with or, at any rate, comparable to
those found today outside Europe and 'European' America. Neither is it
generally understood that, as far as the higher musical forms of expression
of the Asiatic civilized nations are concerned, their extremely refined

specialization renders them somewhat difficult to grasp for us Westerners,

who are equally specialized, but in a different direction. The differences
are frequently felt as deficiencies, and strike the hearer more forcibly than
the elements which both types of music have in common.
Theposition, after all, is that each race, each population group has
its own manner of musical expression, and this special manner strikes
a different race or people, on first acquaintance, as strange. This manner
of expression, characteristic of a race or people, is not only bound to its
specific psychic structure, but is also physiologically conditioned. The
problems which this situation raises constitute a field of investigation par
excellence of ethno-musicology. WILHELM HEINITZ (708 726) in his article
Musikwissenschaft und Volkerkunde (726), formulated this principle with
real German thoroughness as follows: 'In Wirklichkeit kaun es eine

grundlegende Musikwissenschaft nur geben, wenn man die musikalische

Gestaltung ansieht als korrelativ bedingte Transgredation seelisch-korper-
licher Bewegungsprozesse, die kategorisch ihr subjectives Gleichgewicht
finden in dem funktionellen Bezugsystem biologischer Dynamik'. (i.e. :
Actually, there cannot exist any well-founded musicology unless one
regards musical formation as a correlatively conditioned transposition of
psychophysiological motorial processes, which, categorically find their
equilibrium in the organic-functional relative system of biological dy-
namics). We
in the Netherlands have a simpler interpretation of the con-
dition laid down in this pronouncement, namely that 'elk vogeltje zingt
zoals het gebekt is', i.e. each bird is known by its song.

Comparative musical science ethno-musicology as it has developed

as an independent science during the last seventy years, counts only a
relatively small number of investigators as its principal exponents. It is
usual to regard the British physicist A. J. ELLIS as its founder (fig. i).
ALEXANDER JOHN ELLIS whose original name was SHARPE was
born in 1814. His real subject was phonetics, his main work being Early
English Pronunciation with special reference to Shakespeare and Chaucer
(1868 1889, fr 5 vols.). But it is through his musicological investigations
that he still lives in the memory of later generations (450 462), A re-
markable fact, when one takes in account that ELLIS was known to be
*
totally tone-deaf.
The two works which have
remained the best known of his writings
are The History of Musical Pitch (i88o/'8i), very much worth while, but
difficult to obtain, and then the work to which he owes the
designation
'Father of ethno-musicology' Tonometrical Observations on some
:
existing
non-harmonic Scales, revised and enlarged a year later, and published,
under the title of On the Musical Scales of Various Nations, in the 'Journal
of the Society of Arts'. In 1922, ERICH VON HORNBOSTEL
gave an excellent
German translation of it in the first volume of the 'Sammelbande fiir

vergleichende Musikwissenschaft' (862).

ELLIS, in his treatise originally an address with demonstrations
gives an account and the results of his tone-measurements, made on a
large number of exotic instruments with fixed scales
string- and and on
wind-instninients tuned by experts, and preceded by a survey of some
theoretically known Arabian and Indian scales. He was assisted in his
measurings "by the musically gifted ALFRED JAMES HIPKINS (1826 1903)
(813816).
ELLIS concludes with a summary of what their investigation taught
them, in which he says: 'The final conclusion is that the Musical Scale
not one, not 'natural', nor even founded
necessarily on the laws of the
is

constitution of musical sound so beautifully worked out

by HELMHOLTZ,
but very diverse, very artificial, and very capricious* (462, p. 526) ,

1
On the personality of ELLIS see zzzi.

IO
 In more than one respect ELLIS and HIPKINS did pioneering work with
their investigation. Not only because they at last opened the eyes of European

musicologists to the fact there could exist, apart from Western scale con-
structions, other ones built on totally different principles, which, by ears
accustomed to them, were experienced as normal and logical, but they
were also the first to apply a method of representing intervals which, since
then, has found general acceptance, because it offers the Westerner ad-
vantages far exceeding all other methods of presentation.
I should like to go into this point in some detail. The
pitch of a tone is de-
termined by the number of vibrations, i.e. the number of movements made
by some part of the material which is made to sound (string, key, aircolunm,
tongue, membrane etc.), during one second: the so-called c.p.s. (= cycles per
second) or double vibrations (in French: vibrations doubles (v.d.), in German:
hertz (H.)), counting the swing to both sides as a single movement. An
interval is expressed by a fraction, of which the vibration figures of the two
tones bordering the interval are the numerator and denominator.
In certain cases this fraction
will, of course, be a simple one; thus, the
octave may berepresented by the fraction 2 I, the perfect fifth by 3 : 2,
:

the perfect fourth by 4 3 : which is to say that the higher tone of each
of these pairs forming the intervals has, respectively, 2, and i% i%
times
as many vibrations as the lower.
When, however, the vibration figures of two tones have no largest
common numerator and the denominator remain unsurveyable
divisor, the

large numbers. The so-called Pythagorean comma, i.e. the difference

between 12 successive leaps of a perfect fifth and 7 octaves, for instance,
has to be expressed by the fraction (3/2) 12 27 =
531441
:
524288, or,
:

which may be easier to grasp, by the decimal fraction 1,0136. Often, it is

also impossible, without the aid of intricate computations, to determine which
of two intervals is the larger; for instance, the fact that the intervals 799 :

634 and 592 470 are equally large, can hardly be realized at first sight.
:

It has been attempted in different ways to simplify this representation

of intervals; in the first place by the use of logarithms. By this method
the ratios are reduced to a single figure. This method also removes the
complication of the increase of the number of vibrations in respect to the
same interval towards the treble (each next-higher octave having twice
the number of vibrations of the preceding one).
Although this does, indeed, facilitate the getting of a mental picture
of a given ratio, the result is not yet quite satisfying. For, it still remains

impossible, to see at a glance what the relation is between a given interval

and the tone-distances in common use in European music which, after
all, to Westerners, constitutes the basis of all musical determination of

intervals.
 For reason another method was adopted; namely, that of dividing
this
the octave, theoretically, into a large number of very small equal parts,
as units in which to express the size of intervals. Thus, for instance, the
French physicist SAVART (17911841), who, because log. 2 is 0.301(03),
intervals of equal size (called,
proposed a division of the octave in 301
after him, savarf}. In the igth century this interval-representation in
samrts has also been accepted by other investigators, but later on it was
generally superseded by other systems, among
which I may mention one
1 /
that, for obvious reasons, uses the milli-octa-ve (M.O.) ( v 2) as a unit. By
applying this M.O.-system it is possible, without further mathematical
computations, to form a mental image of, at any rate, some of the most
important intervals; as, for example, the tempered tritone of 500 M.O.,
the tempered major third of 333, and the tempered slendro-interval of
200 M.O. Other intervals, on the other hand, do not convey much to the
mind when expressed in M.O. which means that we cannot
; directly compare
their size with that of the intervals already known to us ;
the fifth, for

instance, which is such an important interval, being rendered by the

completely meaningless figure 583.
Now it is ELLIS' great merit to have proposed and put into practice,
in this cents system, a manner of representation that creates the possibility
of immediate comparison with all our western scale-steps. For he took
it was the egg of Columbus! the tempered European semitone as
unit of measurement, and divided this into 100 equal parts called cents

The expression of intervals in cents is sufficiently accurate, both the-

oretically and in practice (cf. below p. 18).
The only remaining difficulty is that the conversion of intervals into
cents is rather a time-devouring task which, moreover, is not
every body's
job, as it requires the knowledge and manipulation of logarithmic tables.
A logarithmtable for the conversion of ratios (and therefore of intervals)
into cents and vice versa is given by ELLIS himself in his treatise, referred
to above: On the Musical Scales of Various Nations (p. 487). A description
of the same precede is also to be found in Appendix XX of the second
edition (from 1885) of ELLIS' translation of HELMHOLTZ' Lehre von den
Tommpfindungm (Sensations of tone) (454) ; in VON HORNBOSTEL'S German
translation of ELLIS' treatise *, and, in a
slightly different and perhaps clearer
form, originating from T. B. W. SPENCER, in A. H. Fox STRANGWAYS, The
Mmic Hindostan (560), pp. 115 and 116. In the treatise VorscMage fur die
<?/

Transkription exotischer Melodien (833), written in collaboration between

OTTO ABRAHAM (820823, 827, 833, 869) and ERICH VON HORNBOSTEL,

1
862, p. 8, note i.
one will find this same kind of table, but in a slightly simplified form.
In the first four publications mentioned, also a second arithmetical
procedure is given which, besides, is reproduced in GROVE'S Dictionary
of Music and Musicians, 3rd. ed., vol. II, p. yiSa, and in CURT SACHS,
The Rise of Music in the Ancient World, East and West (1549, p. 28). This
second procede, however, is not so accurate as the other one, apart from
its taking more time.
Here follows ELLIS' exposition of the two processes:
'If of the two numbers
expressing the interval ratio, 3 times the larger
is not greater than 4 times the smaller,
multiply 3,477 by their difference,
and divide by their sum to the nearest whole number, adding i to the
result if over 450. Thus, if the ratio is 4 5 (where 3 times 5 the larger :

number = 15, is less than 4 times the smaller number = 16), the differ-
ence is I, and sum 9, and dividing 3,477 by 9, the result is 386, the cents
required.
If the ratio
greater than 3 4 and less than 2 3, multiply the larger
is : :

number by 3, and the smaller by 4, proceed as before, and finally add

498 to the result. Thus for 32 45, multiply 45 by 3, and 32 by 4, giving
:

128 135, difference 7, sum 263. Then 7 x 3,477 263 gives 92, and
: :

92 + 498 gives 590,

the cents required.
Lastly, if the ratio exceeds 2 3, multiply the larger number by 2 and
:

the smaller by 3, and proceed as in the first case, adding 702 to the result.
Thus for 5 : 8, take 3 x 5 : 2 x
8 or 15 : 16; difference i, sum 31; then
3,477 :
31 = 112, and this added to 702, gives 814, the required number
of cents.

TO CONVERT LOGARITMHS INTO CENTS AND CONVERSILY

cents log. cents log. cents log. cents log.

13
 when a large
This process sometimes very convenient, but tedious
is
In this case, those who can use
number of results have to be obtained.
and it will give the
win find the preceding table very simple,
logarithms,
result to one-tenth of a cent. ,

Subtract the logarithms of the pitch

numbers or of the numbers of their

ratio. Thus for 32 : 45, log- 45 - i*53, tog. 3* - 1.50515. deference

the next least log. in the table, .12543, gives 500 C. Subtract
14806
this from former log., result .02263,
next least .02258, giving 90 C, total
as before. can now, if we wish, go a step
We
500 C to the nearest cent
farther, and subtracting the
two last logs, we get 00005, which in the last .

C. It is, as a general rule,

column corresponds to .2 C. Final result 590.2
the nearest whole number of cents'.
tinnecessary to go beyond
to manipulate than the other,
This second procede also, though easier
remains for non-mathematicians a rather thorny path. Fortunately, ERICH
once and for
VOH HORHBOSTEL has obliged the musicological world by
these in a handy
aE making the necessary computations and combining
table. Since then there is not one musicologist
left who knows how to handle

a logarithmic table
table, the size of all intervals
formed by tones
On VON HORKBOSTEL'S
between 340 and 809 v.d. may be found at a glance.
I believe that I work in the spirit of
VON HORNBOSTEL by here repro-
which has been of such great help to our
ducing (on p. 133) Ms table
science, but which has hitherto been
concealed in a somewhat inaccessible

periodical (861) together with its author's commentary:

'The reduction of logarithms, even when done
with the aid of the familiar
always a boring and time-devouring
is affair.
tables, suggested by ELLIS,
The methods described by ELLIS and T. B. W. SPENCER, i.e. the direct

conversion of ratio figures into cents without the use of logarithms, are
both complicated and inaccurate. It is possible, however, to make the
whole business much easier means of a very simple expedient. This is
by
the computation, once and for between all integers from
all, of the ratios

* to 2ft, and n into cents. We

then find that
shall the cents figure for the
ratio between any two numbers p q (between n and
:
2n) is equal to the
difference between the cents figure for p n and q n, since qjn pfn
: qlp.
: :
=
The criterion for the choice of n must be the degree of accuracy needed
in the computations,and further the absolute magnitude of the numbers
most generally involved. The table attached hereto is intended to serve
the need of the acoustic specialist who wishes to determine vibration
figures chiefly in the middle register, say, between 400
and 800 v.d., neg-
lecting, as a rule, interval differences of 5 C. in the lower, and 2 C. in the

higher part of this register. Numbers outside the range

covered by the

computation should first be either multiplied or divided (octave transpo-

14
 by 2n\ for this reason
it was
sition) thought desirable to extend the range
of the table over more than one octave; it covers without thereby
becoming unwieldy a minor tenth (1500 C.). * The tens of the vibration
figures are placed right and left, the units above and below in the margin.
Finding the cents figures is simplified by means of group-lines and different
letter-types.
Here follow a few examples to illustrate the manner of using the table.

I. CONVERSION OF NUMERICAL RATIOS INTO CENTS

(1) Having measured the vibration figures 435 (a') and 652 v.d., we
wish to find the cents figure (z) for the ratio. For 652 we find in the table
1126 C. for 435, 426 C. so z
; 1126
;
426 = =
700 C. (tempered fifth).
(2) Given 290,3 435, wanted
: z. The smaller number has to be brought
within the range of the table by octave
transposition: 2 x
290,3 580,6; =
we then get, instead of the interval wanted, its extension into the octave:
1200 z 926= 426 500; z = =
700 C. (The value for 580,6 is found
by interpolation). Or, direct: z (1200 426}
= 926 +
700 C. =
(3) What is the cents-number that corresponds to the fifth perfect 2:3?
Answer: 2:3 = 400 :
600; z = 983 281 = 702 C.
II. CONVERSION OF CENTS INTO RATIOS
(4) What is the numerical ratio that approximately corresponds to the
tempered 700 C. ? Answer: 1500
fifth 700 800; 700 C. =
540 809. ~ :

(5) Which tone () is the tempered major third (400 C.) of c' 256 v.d.? =
Answer: 256 x 2 512; 708= 400 1108; 11+ 645 = 2 322,5 v.d.
= : =
(6) By how many vibrations does the perfect major third (386 C.) differ
from the tempered one at the beginning of the one-lined octave? Answer:
400 386 =
14 C.; 708 (table value for c" = 512 v.d.) 14 = 722; +
(516 512) : 2 = 2 v.d.
III. TRANSPOSITION
(7) Find the interval 443 541 based on 613 v.d. (N.B. All numbers in
:

these problems are prime-numbers). Answer:

804 458 = 346 C. (one of
the 'neutrals' that occur so often in exotic music, i.e. an interval between a
major and a minor third); 1020 346 = 13661 443 541
+ 613 749. : = :

Calculate a cycle of fifths of 678 C. (too small by a

(8) Pythagorean
=
comma 22 C.), downwards from the Chinese diapason (pitch-tone) 732
v.d.,gathering all the tones within the range of a single octave. To this
end we alternately go down 675 C., and upward by 1200 675 522 C.; =
1327 678 =
649; 649 + 522 = JJ7J, etc.; we then get: 732, 494 %, 669
v.d., etc.

The cents-figures are further on printed in italics.

 as from 378 v.cL:
Calculate the Siamese scale of seven equal steps
(9)
1200 7 =
171,43 C.; 183
: I7*>43 +
354-43 354>43
1
= + WA3 = 5^86;
1
.... 697,3; 565,7; i4*> J 3^
6 c - Restllt: 378; 4*7 A'> 4^1 509; 5&2;
,,
Enlarge a curve by the
ratio 509 571. What parameter
: ^ does
(10)
= 199;
the point ^=
601 get in the new scale? Answer: 897 698

986 + 199 = n85; P*

In 1939, Prof. R. W. YOUNG has given, in his pamphlet

A table relating
a method of calculation, starting from the
Frequency to Cents (1919),
equally tempered
scale on a =
440 c.p.s. This table insures great accuracy,
but appeals to me to be rather difficult for a non-mathematically trained

musicologist to manipulate.

intervals into cents and

Another, very practical method of converting
into intervals, a method that eliminates all cyphering, has, some

years ago, been offered

and described by Professor M. REINER of Technical
College, Haifa, in his article The Music Rule (i447) and by Mrs. Dr. E.
GERSON-KIWI of the Conservatory of Music, Jerusalem, in her treatise
Towards an exact transcription of Tone-relations (617).
In the last named treatise Mrs. GERSON says:
*A decisive step in this direction (i.e. the direction of avoidance of lengthy
and troublesome logarithmic or arithmetic calculations) has recently been
done by the construction of a technical device, worked out by M. REINER
(of Technical College, Haifa),
and called the 'Music Rule'. Generally,
the slide rule. In a
logarithmic calculation can be facilitated by using
similar way, the Music Rule consists of two separate double-scales the
first of which (A B) confronts the vibration numbers (scale A) in hertz
with the respective cew-numbers (or ellis) (scale B) in a way, that any
required pitch can be read off directly, without calculation.
The second
double-scale (C D) confronts the eZfeVnumber (scale C) with the main
musical intervals (scale D) (p 135, fig. 52).
The scale A represents the tones c' c" with frequencies of 264 to 528

"hertz. Each division on scale A

is equivalent to z hertz, and each division

on scale B to 10 ellis. (As for other octave ranges one has to multiply or
divide the figures of scale A
by 2 (or adding or subtracting 1200 on scale
B).) Now shift the C-scale against the A-scale, until the base-line of the
C-scale is opposite the vibration number of the lower tone of the interval
to be measured. Then read directly from the C-scale, opposite the vibration
number of the higher tone of the interval to be measured, the size of that
interval expressed in ellis* '.

16
 Another recent contribution in this field, made by the
Hamburg musi-
cologist HEINRICH HUSMANN, excels in that it meets all possible demands
of exactness and is especially usable for those unaccustomed to intricate
calculations. His publication has been issued under the title Funf- und
siebenstellige Centstafeln ZUY
Berechnung musikalischer Intervalle (924).
Finally there is FRITZ BOSE'S system of interval-calculation (186). It
closely resembles that of Prof. REINER, mentioned above.

How is the pitch of a tone measured? For this, some or other measuring
instrument indispensable. However sharp one's musical ear may be;
is

however firmly one may be convinced of the infallibility of one's 'absolute

pitch', without a measuring instrument it is impossible to objectivate
one's auditory experience more accurately than
by recording, say, a! + ;

'between e and /', or, as regards intervals, *a fourth on the small side',
'fifth-like intervals' ; 'about %
of a tone', and so on.
Our organ of hearing, moreover, has an unconscious inclination to
'correct' tones and intervals that do not fit in with our own familiar tonal

system, in such a way that they will appear to fit in with it. Hence the
mistaken idea on the part of musically gifted, retired officials from Indo-
nesia that the Javanese slendro scale can be truly played on the five black
keys of the piano. In other words: without recourse to a instru-
measuring
ment it isabsolutely impossible to fathom the nature, the structure of an
exotic scale and to communicate it to others.
In the course of time, the sciences of phonetics and
musicology have
developed and obtained the use of a large number of such measuring instru-
ments. Of these, it may broadly be asserted that their precision is in inverse
proportion to their usefulness in 'field work', which after all, demands
that the instrument shall be easily transportable, of a simply manipulated
construction, and able to stand a certain amount of knocking about. It
should further, for preference, not be too expensive to buy and maintain:
musicologists do not, as a rule, excel as possessors of earthly riches, and
only a very few are privileged to receive adequate financial assistance
from scientific institutions or interested private persons.
In a modernly equipped laboratory it is possible to perform tone-measure-
ments with amazing accuracy. The so-called 'electric eye' allows of determi-
nations of pitches down to partides of vibrations. Other instruments are,
for instance, tuning forks with adjustable weights that change the pitch as

they are shifted, and with a scale-division on the prongs; APPUNN'S tono-
meter (sequences of reed-pipes); tuning- or pitch-pipes; slide-pipes (i.e.
with an air-column of adjustable length) with scale-division (e.g., the
Tonvariator of W. STERN, that made by Messrs. PHILIPS, and other types) ;

17
 of W. LEH-
the 'Schwebungstongenerator' (heterodyne tone generator)
MAHN l ; VON HORNBOSTEI/S 'Reisetonometer' (a small wind instrument
with freely vibrating reed, adjustable air-column length and graduation
scale We further know the method followed by E. W.
indicating pitches).
2
SCRIPTURE (enlargement and analysis of gramophone curves) , and the
3 METFESSEL/S method of
so-called 'soot method of MARBE ,
7
phonophoto-
and the chromatic stroboscope as described by R. W. YOUNG
graphy (1311)
and A. LOOMIS 4 ELLIS, in his classic investigations, used a
. very exten-
5
sive series oftuning forks .

My own experience has taught me

that, as regards field work, the most
well-tried monochord, fitted with a
satisfactory instrument is the old,
proper graduation scale. This instrument
embodies a generally acceptable
it is
compromise: (i) fairly great precision; (2) easy transportability; (3)
has resistance to climatologic influences;
practically unbreakable; (4) good
(5) is quickly
and easily operated, (6) the cost of purchase is small and cost
of maintenance nil (fig. 46).
The results obtained with the monochord may in most cases be deemed
sufficiently accurate for musicological purposes.
Instrumental tone-sequences
such as played, for instance, on the melody-instruments of Javanese,
Balinese or Siamese orchestras show slight internal differences in pitch
which are not intended, and, therefore, do not require the use of a more
precise measuring-instrument.
Among the sources of errors in measurements such as these, we must
mention in the firstplace the investigator's organ of hearing, since there
are limits to its precision. He bases himself on the sharpness of his musical
ear:
when, in tuning the string of the monochord to a calibrated tuning
(a)

fork, identity of tuning isattempted between a vibrating metal rod and a

string; (in this, the difference in tone-quality (timbre) is a disturbing

factor);
(b) in equalizing the pitch of the monochord string with that of the
tone to be measured (here, too, there is usually difference in both material
and timbre).
There are further the following unfavourable factors:
(c) always the relative inaccuracy of the graduation scale attached to
the monochord, and

1
WBTOBR LEHMANN, Helv. Phys. Acta 6, p. 18 ff. (1933).
*
E. W. SCRIPTURE, ResearcJies in Experimental Phonetics (1906). Cf. also STUMPF, Die Anfdnge
tier Mmsik (1746), p. 80/81.
8
'Z^tsdmft fttr VoL 49, p. 206 ft
Psychologic*,
* *
la Journal Acoust. Soc. Amer/ X, p. 112 ff. (1938). See about this apparatus also FRITZ A.
KUTTHER (1130) and MILTON E. METFESSEL (1312).
*
ELLIS, 462, p. 486.

18
 sometimes the extra source of error arising as soon as a tone has to
(d)
be measured which lies outside the register covered by the monochord.
For in this case one has to have recourse to the next higher or lower octave ;
and the equalization of the tone to be measured with its octave on the
monochord as has been proved empirically cannot be effected with the
same precision which can be obtained in equalizing two tones in the same
octave-register.
In causing to correspond, first, the tones of the tuning fork and the
monochord string, and, later, that of the latter with the sound-source to
be measured, attention should be given to the 'beats' which are heard
as soon as the two tones approach each other. When the beats have disap-

peared, equality has been attained. If beats are still audible, their number
per second should be estimated as nearly as possible. This number is equal
to the difference between the respective numbers of vibration per second
of the two tones.
It is further advisable to repeat, if possible, the measurements after
some time. It will then be seen that the results slightly differ here and
there. One may be better disposed at one time than at another; I have
also noticed that the state of the weather (extreme moisture or drought,
excessive heat or cold) may influence either the investigator's hearing, the
instrument to be measured or the monochord in some way or other; the
sources of error mentioned above may make themselves felt, now in this,
now in that direction. It is, measure twice, with
therefore, advisable, to
an interval of some days in between, to add the results of both measure-
ments and divide the sum by 2, or, better still, a third measurement is
made with the hope that this will confirm the relative accuracy of one of
the two preceding ones.

***
Ethno-musicology could never have grown into an independent science
if the gramophone had not been invented. Only then was it possible to
record the musical expressions of foreign races and peoples objectively;
it was no longer necessary to make do with notations made by ear on the

spot, which notations, however well-intended, usually fell short in every

respect i.e. both rhythmically and as regards pitch. And in addition it

now became possible to incorporate interpretation that extremely im-

portant element into the subject-matter of the investigation.

Truly, it is not only the intervals and the rhythm which, next to the
special musical forms, are characteristic of the manifestations of a race.
The manner, the style, of performance is at least as important. One must
have heard them to realize this to the full extent: the mobile, amazingly

fast melos of the pygmies, sung with a high head-voice; the passionately

19
'pinched' vocal sound of the Japanese and Chinese actors; the nasalized
in the vocal rendering of
melodies of the Indonesian women; the pathos
the American Indians; the vital jollity as well as the sonorous seriousness

of the Negro singing one must have heard them to realize to the full the
characterized by its style of interpretation. More
degree to which a race is
and more this is being acknowledged and understood. An important treatise
in this special field is WERNER DANCKERT'S Musikwissenschaft und Kultur-
kreiskhre (326). I would further mention, in the same connexion,
GEORG
HERZGG'S article The Yuman Musical Style (736); VON HORNBOSTEI/S
review in 'Baessler Archiv' (885); VON HORNBOSTEL and LACHMANN,
Asmtische ParaMen zur Berbermusik (894); WILHELM HEINITZ' article
Die Mmikmssenschaft als Instrument der Stil- und* Rassen-
DergUichende
kunde (725); HERBERT HUBNER'S study Die Musik im Bismarck-archifel
(915); ROBERT LACH, Das Rassenprobkm in der vergleichenden Musik-
wisseftschaft MARIUS SCHNEIDER'S Geschichte der Mehrstimmig-
(1149);
kdt (passim) (1631); by the same author: Die musikalischen Beziehungen
zwischen Urkuttwm, AUpflanzem und Hirtenvolkern (1640), and par. C. of
his contribution Ethnohgische Musikforschung (1638), and, finally, FRITZ
Boss's Klangsiile als Rassenmerkmale (180).
Ethno-musicology derives still more advantages from the invention of the
gramophone. The phonographic method made possible to collect vastly
it

more material in the available usually awkwardly restricted time,

than formerly, when everything heard had to be noted down then and
there a very troublesome and wearying task. At the same time, too, the
strain on the patience of the players and singers was reduced to a minimum.
Formerly, whenever the melody to be recorded was very complicated,
these people would be asked to repeat it many times over, if possible in
bits at a time; a proceeding which, in actual practice, mostly amounted
to starting right from the beginning over and over again (since the repetition
of a passage in the middle of a piece, as one may imagine, causes con-
siderable difficulty). Now, on the contrary, the players could usually content
themselves and the recorder with 'doing their stuff once only.
As in the case of tone-measurement, so with the sound-recording there
exist a number of different apparatuses, and here, too, the same applied
until recently, that the technically best method proved less useful in
i.e.

practice, owing to the size, weight, fragility and costliness of the apparatus
demanded by it.
Until a few years ago, therefore, at any rate when dealing with a
territory where conditions had remained more or less primitive (lacking
for instance motor roads and electric current), and
especially in difficult
mountainous or wooded parts where carriers were the only possible means
of transport the general opinion was that the old-fashioned spring-
driven phonograph with wax-cylinders, recorder and reproducer, such as
the 'Edison-Amberola' and the 'Excelsior', was the proper instrument for
this purpose.
This situation has undergone a change since the second world war.
Various electromagnetic systems, by which the pieces are recorded on
metal wire or on a metallized paper or plastic strip or band (called 'coated
tape'),have summarily caused all other recording methods to become
antiquated. For a survey of the various systems in existence, including
the most recent, I refer the reader to Sir ERNEST FISK'S Lecture to the
Royal Society of Arts, London, on January i6th, 1949 *
and to S. J. BEGUN,
2
Magnetic Recording . The new apparatuses not only enable us to obtain
an infinitely better rendering hardly, if at all, inferior to the original
performance ; they also allow of uninterrupted recording lasting, if
desired, as long as 72 minutes; their manipulation is simple; they are
readily transportable and not very vulnerable or fragile, and, last not least,
their purchase price, although higher than that of the
phonograph or
gramophone, is not an unsunnountable obstacle, whereas their cost of mainte-
nance is even less. The only thing most of them require is the presence of a
powersource. If there is no local electric network to which the recording
apparatus (which also reproduces the sound) can be connected, one has to
have a transportable power source at one's disposal.
However, recently several new types of tape recorders have appeared,
especially suited for research in areas without electric power. This type
of recorder, made both in the United States and in Germany and Switzerland,
is powered by dry cell batteries (for the microphone) and has a mechanical
drive. The weight and the bulk have been reduced seizably. According to
reports this new type is greatly facilitating field recording.
For the spoken word, the wire- and tape-recordings are equally satis-
factory; for the recording of music it appears that a tape-apparatus is
preferable; since newer and better instruments are constantly being put
on the market, it is, however, impossible to give a decisive judgment of the
relative merits of these processes at this juncture.
Now whatever apparatus the field worker may have at his disposal,
one thing is certain: on arriving in the locality of his researches, he will
often find himself faced with a certain diffidence and even suspicion on
the part of the population. He will not always find someone who is immedi-
ately eager or even prepared to play or sing to the visiting stranger with
his mysterious-looking instruments. The general cpnte understand-
able tendency is 'to wait for the cat to jump'.

1
'Journal of the Royal Society of Arts* no. 4760, Vol. XCVI, p. 105 ff.
a
New York/Toronto, 1951.

21
 difficult to get the people
Afl the same, my experience is that it is not so
to sing, or dance, unless abnormal circumstances
such as, in North-
mission's to the ancient folk-song
Nias, the fear of the Christian hostility
and -dance have gained the upper hand over the people's natural curiosity
and willingness to perform. The well-tried recipe: first to perform a tune
oneself say, a European folk-song or a piece on the violin,
or to execute a
,

Western folk-dance, has often worked wonders among the Indonesian

peoples in whose midst I have
made my investigations. They didn't like to
be left behind; they, too, wanted to let you hear or show you something of
their own and this the sooner, once they found that every performance
was followed by some little reward.
As regard these rewards: a systematic record of the preference on the
for certain particular objects would be
part of a given population group
most useful. The old Dutchmen crafty traders as they were realized

the desirability of this policy right from the start, and acted accordingly.
The Corte Verdawinghe per CORNELIS BE HOUTMAN van de Landen ghenaemt
Oost Indien ofte Conquisten van Portugal the report of a study trip to
of I595~ '97
Portugal in preparation of 'D'Eerste Schipvaert' already
contains a lengthy list of articles which, from Portuguese experience, were
in exchange for their
readily accepted by the peoples of the Archipelago
products *.
For those who contemplate making a study trip to Nias or to Flores,
the following suggestions may prove useful.
I found that, in Nias, the people were most impressed by necklaces of

'gold*beads (which were made of coloured glass) the red coral necklaces,
;

which, in my eyes, were much prettier, found but scant favour there;
and neither did flashlights, unless they were longer than two batteries.
In Flores, on the contrary, they sniffed at the 'golden' beads, whereas the
red corals were the rage. They also fell violently in love with a rather
all

complicated type of pocket-knife, while the smaller flashlights were also

much in favor. Tobacco, in the form of lumps of chewing tobacco, and
cigarettes, as well as chocolate drops and sweet biscuits, proved a universally
appreciated reward; I could not bring a sufficient store of these to satisfy
all demands. In South-Nias, the 'Bensdorp* flat round chocolate drops

were at first taken to be some sort of money, as they were wrapped in silver
paper.
A most important factor for the success of a musicological expedition
is: some knowledge of the language current in the territory of your in-
vestigation; see that you know a number of words and expressions that

J. C. M. WARNSINCK, De wetenschappeMfke voorberei&ng van onze eerste. sMpvaart naar

(inatigaral address), 1936, p. 9.

22
you need in order to get a person to sing at the right moment and
will
in the right way, or that will be helpful in establishing an emotional contact
with the person you are talking to. In Nias, for example, a set of fourteen
terms have helped me through many difficulties and smoothed my way
towards obtaining the goodwill of the population. I was able to say 'yes'
(la'u)
and 'no' (Id' 6); express thanks (sauhagold); welcome somebody
(ya'ugo\ literally: ('is that) you?') and say good-day (yaho); express my
admiration for a fine song- or dance-performance (sochi-sochi 'fine, =
tine !'), and my affection by a friendly tap on the shoulder while pronouncing
the word sifahuhu ( 'friend'). Singing into the horn of the phonograph
was directed by the words lona ('not yet'), taborogo ('start'), honogo ('stop,
silence'), alio ('quick'), bdo'i (North Nias) or bese'o (Central Nias) (= 'wait
a moment'), e bua o liu ('louder!'); while I was able to express sympathy
with the experimental persons at the end of the singing or dancing, by
asking in kind, thoughtful tones: erege dodo? or marast?, meaning 'are you
5

tired now? .

For the rest: a little tactful handling, a lot of patience, a smile at the
right moment, the feeling whether the subject's initial shyness is beginning
to give way to some sort of confidence, and whether the psychological
moment has arrived to show a little generosity; to observe when the experi-
mental persons are getting tired and in consequence a little irritable or
easily distracted in short, intuition and tact, one either has them or has
them not, but they are indispensable if satisfactory results are to be obtained.

The first phonograms of exotic music to benefit our science were made
by Dr. WALTER FEWKES in 1889, from the singing of the Panamaquoddy-
and Zuni-Indians. These records were passed on for analysis and elabor-
ation to Dr. B. I. OILMAN of Harvard University, and this led to the publi-
cation of his study Zuni Melodies (625) which paper has served as example
,

to many later treatises based on phonographic material.

Once the importance and necessity of phonographic recording was
generally realized, many larger and smaller phonogram-archives came
into being; the oldest established being in the U.S.A. Some American
universities now have extensive collections. The American stock of phono-
grams was estimated in 1933 at about 17.000 different records, including
Honolulu. The majority of these are recordings of American Indian vocal
l
music, and are mostly, as far as I know, on cylinders.
Since then the extremely important and rapidly growing collection
of records of the Library of Congress, Washington D.C., the majority
of which were recorded by means of the most modern apparatuses, have

1
Vide. 'Zeitschrift ftir vergleichen.de Musikwissenschaft*, Vol. I (1933), p. 58.

23
been added to these as well as the splendid collection, brought together
New York, and
by GEORGE HERZOG, formerly of Columbia University,
afterwards transferred by him to the Music Department of the University of
Indiana, Bloomington (Ind.), where he is teaching now.
This material has beengathered, studied and still is studied by a number
of meritorious ethno-musicologists. I already mentioned
the names of

FEWKES, GILMAN and GEORG HERZOG (736 759). Next to them worked
FRANCES DENSHORE (362413), HELEN H. ROBERTS (1469 1488),
EDWARD SAPIR (1582, 1583), FREDERICK R. BURTON (250), CHARLES K.
WEAD (1862 1864), ROSE BRANDEL (201), GERTRUDE P. KURATH (537,
538, 11181124!), WILLARD RHODES (i4S7> *458)>
ALAN P. MERRIAM
(13051309), DAVID MCALLESTER (1283 i284b), E. R. CLARK (293),
RICHARD A. WATERMAN (1860, 1861) and many others. After 1933 American
to the rise of
ethno-mnsicology received a fresh impetus when, owing
Nationalsocialism in Germany, SACHS (851, 1511 1556), VON HORNBOSTEL
(820 899) and BUKOFZER (238 241) came to the United States and were
called to university chairs.In 1952 MANTLE L. HOOD, from the University
of California, Los Angeles, came to Europe and specialized in Indonesian
music (817).
French Canada, also, boasts a large and excellent collection of phono-
grams of French-Canadian, English-Canadian and (more than 2600) Cana-
dian-Indian folksongs, brought together by M. MARIUS BARBEAXJ (102
no, 599) and housed in the National Museum of Canada at Ottawa.
As far as Europe is concerned, the best known and most important
collections were found in Vienna and Berlin. Of these two, the Viennese
one the property of the Academy of Sciences is the older. Its estab-

lishment dates from about 1900; apart from a few thousand speech- and
1
language-phonograms, it contained, in 1933, about 1500 music records.
The Academy issued many ethno-musicological studies, based on its phono-
gram collection. Of those I may mention the publications by EXNER
and POCH (490), TREBITSCH (1797 1799), FELBER (533 536), VAN OOST
(13791382), MURKO (1333* 1334) BIRO (155), IDELSOHN (932), LACH
>

(11371139, 1157, 1*58, 11601163, 1171), NABEL (1346, 1350), GRAF

(652), JAHSKY (950) and TRUBETSKOY (1805)*
The Berlin archives which were destroyed or, at least, dispersed
without the slightest chance of getting them together again 2 during the ,

second world war were much larger. They were established in 1902, at
the instigation of the great physiologist and
psychologist CARL STUMPF,

1
IbM.,p. 15.
3 Dr. EMSHEIMER told me that four crates with about 1300 cylinders have been recovered; the
rest, packed in 20 crates, the Russians took with them and, therefore, it is lost for Western
science. See also KTJKT REINHAIUJ (1450).

24
and were at first until 1932 housed in the Psychological Institute of
the University of Berlin, and later in the Staatliche Hochschule fiir Musik;
after 1933 they have been incorporated with the collections of the Museum fiir
1.
Volkerkunde
STUMPF, as far as his musicological work is concerned, lives on in
the grateful remembrance of ethno-musicologists not only on account
of having founded this richest and best organized of all European phono-

gram archives, but also as the man who, in collaboration with Dr. OTTO
ABRAHAM (820 823, 827, 833, 869), made the first musicological phono-
graphic records in Germany (from the music of the Siamese court-orchestra
which was performing in Berlin at the time), and also as the author of that
masterly treatise Tonsystem und Musik der Siamesen (1744), of a larger
work, Anfange der Musik (1749), and a number of other publications
(17321751)-
However, the extraordinary growth of the Berlin phonographic archives
isnot so much due to STUMPF'S work, but rather to that of his pupil and
younger friend ERICH M. VON HORNBOSTEL facile princeps among all
those who, up to the present, have made ethno-musicology the chosen subject
of their study. Under his direction the phonographic collection grew rapidly,
until, in 1933, when VON HORNBOSTEL left Berlin, it comprised no less than
10.000 records.
VON HORNBOSTEL at first with the co-operation of Dr. OTTO ABRAHAM,
later alone published a series of brilliant studies, based on the analysis
and transcription of the phonograms acquired by the Berlin Archives,
and dealing with the musical expressions of peoples from all parts of the
world (820 899, 1183, 1184, see also 1074). Unfortunately these studies
are scattered over countless periodicals and accounts of travels, often difficult
to obtain. The author never got as far as publishing that part of his life's
work volume of 'Collected Musicological Essays' only his articles
in a single ;

dating from before 1908 may be found together in the first

volume of the
'Sammelbande fiir vergleichende Musikwissenschaft*. But a typed edition, in
six copies, of his 'Opera Ornnia' is at present in preparation at the Royal
Tropical Institute, Amsterdam.
The marvellous darity of mind and wellnigh infallible intuition with
which VON HORNBOSTEL penetrated into the at the time practically

virgin field of exotic musical cultures will rarely be equalled. He was

for all of us a shining example and unattainable ideal.
The remarkable thing is that his greatest service to the science of ethno-

1
Since 1948 some young musicologists, in the first place KURT REINHARD (1448 1452) and
HANS HEINZ DRAGER (433, 434), try to revive this Berlin centre by lecturing at the recently founded
'Freie Universitat* and rebuilding the phonogram-archives.

25
musicology was probably the fact that
he put forward a theory which if

later investigators (MANFRED R BUKOFZER (239, 240, 242)

and KATHLEEN
SCHLESINGER (1625), who have attempted to disapprove it, though with, in
my opinion, unsufficient arguments) are right might be untenable,
but which, at any rate, succeeded in bringing clarity into certain very
the structure of, and possible rela-
thorny problems in connexion with
of different peoples living remote
tionship between, instrumental scales
from each other, and of both former and present times. I am of course
referringto VON HORNBOSTEI/S famous hypothesis of the cycle of blown
fifths, which the reader no doubt knows by name. For the content of this
at it, I may refer those interested
hypothesis, and the criticism levelled
to my brochure Around Von HornbosteVs theory of the cycle of blown fifths
(1094) and to the articles by HANDSCHIN (684) and LLOYD (1228).
VON HORNBOSTEL trained a number of talented pupils, several of whom
worked for some would mention GEORG HERZOG
years as his assistants. I
(736 759), now a prominent authority on North American Indian Music
and attached to the University of Indiana, Bloomington (as an anthro-
pologist), and the late ROBERT LACHMANN (1173 1189, 1951, 1952)
who specialized in the Japanese Noh- and the Arab and Berber music,
and to whom we owe one of the cleverest and best-written ethno-music-

ological publications, Le. Musik des Orients (1179). There is further WALTER
WIORA, author of several elaborate and dependable essays on Central
European folk-music (1890 1903, 1972); HANS HICKMANN, an authority in
the field of Egyptian and North African music (761 812); MARIUS
SCHNEIDER (1279, 1631 i66ib, 1964, 1965) HEINRICH HUSMANN (921
; 927,
1947, J 94S)-
Further, MIECZYSLAW KOLINSKI (1031 1034!)) may be
reckoned among VON HORBONSTEL'S pupils, as well as FRITZ BOSE (172
190 and 1929).
But Ms sphere of influence didn't and doesn't confine itself to his direct
pupils. Among those who have been inspired by his personality and publi-
cations I may mention, for instance, HEINRICH SIMBRIGER (1683, 1684),
MANFRED F. BUKOFZER (238 242), SIEGFRIED NADEL (1345 *35*K
and myself (1060 1117),
VON HORNBOSTEL confined himself chiefly to 'home-work'. Most of his
'field-work' was done in the beginning of his carreer,
among the Pawnee
Indians. It is probable that his would not have stood the strain
physique
of much field-work. In other ways, however, he possessed all the
necessary
qualities for it, especially tact and intuition, and it is indeed to be regretted
that circumstances finally forced him to work at home. This was a
mainly
in the first place for himself. For it is
pity precisely the variation between
the two so diametrically
opposed operations, in the field and in the study,
which can make the life of an ethno-musicologist so rich and so eminently

_ 26
worth living. The man to whose lot it falls to be permitted the study of our
science from both angles, may, indeed, consider himself lucky. He lives a
1

'double life in the right sense of the word; on the one hand a life of ad-
venture: enjoying contact with strange peoples, experiencing the en-
chantment of penetrating into less known regions; on the other hand his

scientific and
esthetic inclinations find satisfaction in thorough, far-reaching

analysis of the material collected, which, moreover, is so much more alive

for him, having gathered it himself, than for others who receive the records,
musical instruments and comments by mail or investigate them in a
museum.
However, experience teaches us that the position is often different
in that the two aspects of ethno-musicological investigation must neces-

sarily be kept apart. A. H. Fox STRANGWAYS (559 5653., 1189) the author
of Music of Hindostan (560) that work beyond praise in an opening
article entitled East and West in the first volume of the 'Zeitschrift fur

vergleichende Musikwissenschaft', gave the following qualification of the

two categories of ethno-musicologists The workers are in two classes.
:

There are those who have the health, energy and personality, provided they
have the time and the means, to go and collect material. It is hard to say
which of these is the most important, but the right personality is the
rarest. Without the willing co-operation of the singers and dancers they
will do little, and that willingness is only to be bought with unfeigned

sympathy, inexhaustible curiosity, lively gratitude, untiring patience

and a scrupulous conscience. It is easy to fake a tune till it fits a theory.
It is easy to be content with a dozen specimens, and not to plough on
and get the thirteenth which would have been worth them all. It is easy
to think that it is we who confer the honour by collecting and recording,
until a singer says, as she said to me, that she is not going to deliver her
soul to a piece of wax which may get broken in the train.
And there are those who sit at home and shift and sort. Material comes
in from diverse places and very various minds. How much credence are
we to attach to each? How are we to fill the lacunae? How reconcile contra-
dictions? What advice is to be given to young collectors? The bare facts
are not of much use without the ideas on which to string them, and the
natural enthusiasm of the collector benefits by being set in the proper

proportions*.

Apart from the American and German phonogram-archives we should

also briefly mention the French ones. Extensive collections of ethno-
musicological records are in the possession of various organizations, par-
the 'Musee de THomme , the
1 1

ticularly the *Societ6 d'Anthropologie ,

'Bibliotheque musicale du Mus6e de la Parole et du Musee Guimet'
and the

27
 * on discs, i.e. made according
Thonotheque Rationale'. They are chiefly
in which the recorder
to the gramophone process invented by BERLINER,
does not, as in the case of the EDISON phonograph, move vertically, cutting

and less cuts into the sensitive

deep
wax cylinder, but is moved in a
deeper
horizontal plane on a circular wax plate. (The Viennese archives, until
recently, employed an
intermediate form between phonograph and gramo-
the variable depths of groove in common,
phone: with the former it had
with the latter the wax plates).
In Budapest there the large collection of phonograms chiefly con-
is

sisting of Hungarian and

Rumanian folk music; it comprises over 30.000
records, collected for the greater part by
the late BELA BART6K (113

i2pa) in collaboration with ZOLTAN

KODALY (130)-
The Musicological Institute at Stockholm (director Dr. ERNST EMSHEIMER)
:

{469 477^ 1943), also possesses a collection

of discs containing, among

others, a series of valuable Mongolian and Caucasian records, whilst the

Archives of Dialect and Folklore, Uppsala, contain a large collection of records
of all Swedish provinces, including Lappland.
Further the phonogram archives of Leningrad must be mentioned,
of the peoples living
containing, appears, mainly records of the music
it

inside the borders of the Soviet Union. The scientific output of the Russian
ethnomusicologists since the war is considerable. Because of their publi-
cations being written only in the Russian language and apparently not
available for investigators at this side of the iron curtain, they have not
been included in the bibliography on p. 65 ff. Many of them, however,
one can find in the bibliography of Asiatic musics by WATERMAN c.s. in
'Notes' (1860).
of writing everything seems to point to the probability
At the time
that the central position taken up by the Berlin phonogram archives
until the second world war, be occupied by the 'Archives
will in future
Internationales de Geneva under the
musique populaire', established at
auspices of the UNESCO and the CIATP (= Commission Internationale des
Arts et Traditions Populaires). This institution is under the direction
of Professor CONSTANTIN BRAILOIU (195 200), formerly co-worker of BELA
BAET6K, and, next to KODALY, the authority in the field of Rumanian and
other East European musical folklore.
On reading an enumeration of the contents of the phonogram archives, 2
many will have wondered whether the large gramophone companies have
1
In 1952 Unesco published a catalogue of the collection of the last named institute (52). It
contains no less than 4564 numbers. In the same year appeared, under the auspices of the Ciap,
SIMOKE ROCHE'S Catalogue of the collection of the Musee de THomme (I49oa).
a
A general survey also in: Musique et chansons populaires (ed. by the Intern. Inst. 1 Intellectual
Co-operation), Paris, 1934, in. Folklore musicaU (ed. by id.), Paris, 1939, and in the recent catalogue,
edited by NORMAN FRASER (571).

-28
not made very considerable contributions towards the work of
recording
what is still alive and being played in the way of exotic music. The answer
to this question, it must be said, is rather disappointing; these companies,
being run as they are on a purely commercial basis, have not rendered so
much service to ethno-musicology as could be expected. The reason for
this is threefold:

(a) made by them, have been generally only on

the records of exotic music,
sale in the country where they were collected and where the music they
render comes from;
(6)
these companies were prepared to supply copies of the records in

question elsewhere on condition only that at least 25 copies are taken

simultaneously, a thing which hardly suited the convenience of most mu-
sicologists or even museums;
(c) they usually only produced records when they had reason to expect
them to be sold in quantities; in other words, they usually pandered com-
pletely to the often regrettable taste of the larger public and fought

shy of the rarer musical expression-forms which are important by virtue

of their being ancient, but (possibly for that very reason) no longer generally
current, let alone popular. They also avoided, if possible, making records
exceeding the limit of one side of a disc. There are but sporadic excep-
tions : Columbia has recorded Javanese vocal plays (langendrya) at Surakarta
in the Mangku Nagaran in their entirety; the Karl Lindstrom Concern

published an album of records, selected and with a commentary by VON

HORNBOSTEL, containing examples of Japanese, Chinese, Balinese, Siamese,
Javanese, Sundanese, Indian, Persian, Egyptian and Tunesian music.
And if the war had not intervened to spoil my own plans, I should have
been given opportunity to produce, in collaboration with the Netherlands
Indian Radio Omroepmaatschappij (NIROM), 60 large, double-sided records
with examples of the musical scales used in Java and Bali; of the sound
all

produced by, and the manner of playing of, all instruments used by the
native musicians in these islands; of all types of orchestras and all forms of
compositions.
If the gramophone companies had only heeded the examples mentioned
above, they might have rendered inestimable services to the science of ethno-
musicology. Now, they will have to hurry: for as fast as the recording
processes are being perfected, the musical expressions eligible for repro-
duction are, under the influence of western civilization and the intensificaton
of world trafic, declining in purety and musical value. In the course of the

years much that was once beautiful and remarkable has gone to perdition,
without a trace or record remaining. Moreover, instead of giving (or selling)
to a scientific institution the matrices of recordings which, after some
years, have been deleted from their catalogues (often containing music

29
that can no longer be found, even by field-workers), these companies
and so, also in this way, much irreplaceable
usually have destroyed them,
material is lost for ever.
to assure
The gramophone companies should further always proceed
themselves of the cooperation of a specialist
who is familiar with the music
in Bali, where
to be recorded as Odeon, very luckily, did at the time,
acted as their advisor. This
the gifted painter-musician WALTER SPIES
measure would not only safeguard a correct and
varied choice of recordings,

but also ensure a greater likelihood of the records turning out truer to
of Javanese
reality. To give
an example of this latter point existing records
:

the vocal element often allow the voice to

gamelan music which include
while in
be far too prominent, as if it were a solo with accompaniment,
reality the solo- and choral voices are nothing more than equivalent elements
in an otherwise instrumental tonal texture; in other words, the singers
in front of the microphone.
ought not to have been placed right
and advice of a musical specialist it win
By utilizing the knowledge
also be possible to prevent the titles on the records
from containing such
an annoyingly large number of spelling mistakes.
last years have shown a tangible im-
Fortunately, in this regard also, the
provement. have already mentioned the widely known album 'Musik des
We
Orients', issued by the Carl Lindstrom Concern,
Berlin. ERICH VON HORN-

BOSTEL chose for it from among the records, published in previous years
Odeon and
(more for commercial, rather than musicological purposes) by
Parlophon.
After Worldwar II, however, there resulted, in the nick of time, from the fer-
collaboration of ethno-musicologists with gramophone- or broadcasting-
tile

companies a number of splendid collections. Of those I will cite the following :

a) issued by the Folkways Records and Service Corporation, 117 West 46th
Street, New York 36 (N.Y.):

P. 401. Music of the Sioux and the Navajo (recording and notes by
WILLARD RHODES) ;

P. 402. Music of Equatorial Africa (tribes: Baduma, N'Goundi,

Okandi, Mboko, Kukuya, Yaswa, Bongili, Baya, Kuyu)
(rec. ANDRE DIDIER; notes: GILBERT ROUGET);
P. 403. Drums of Haiti (rec. and notes: HAROLD COURLANDER);
P- 404. Folk and traditional music of Turkey (notes TARIK BULUT) : ;

P. 405. Folk music of Ethiopia (and Erithrea) (instr. begenna (harp), :

tcherawata (fiddle), m'Mlta (flute), masonquo (lyre) and drum)

(rec.and notes: HAROLD COURLANDER);
P. 406. Music of Indonesia (Java, Minangkabau, Batak, Bali, Malaya)
(notes: R. SUWANTO) ;

30
P. 407. Folk music of Haiti (rec. and notes: HAROLD COURLANDER);
P. 408. Folk music of Palestine (Bokhara, Palestine, Yemen,
Persia)
(rec. Dept. of Folk music Anthrop. Inst. of Israel; notes:
RAPHAEL PATAI and MIECZYSLAW KOLINSKI) ;

P. 409. Folk music of India (Punjab, Bengal, Rajastan, South

India) (instr.: israj, sitar, flute, gopijantra, dholak, sarangi,
pakavaj, kartal, vani, mrdangga, shahnai, tabla, baya, tappu)
(notes: HAROLD COURLANDER);
P. 410. Cult music of Cuba (Lucumi, Abakwa, Kimbisa, Djuka,
Arara) (rec. and notes: HAROLD COURLANDER);
P. 41 1 . Music of Spain (Navarre, Galicia, Asturias, Catalonia, Maj orca)
(notes: EMILIO DE TORRE);
P. 413. Indian music of Mexico (Yaqui, Seri, Huichol, Cora, Tzotzil)
(rec. HENRIETTA YURCHENCO; notes: GORDON F. EKHOLM
and HENRIETTA YURCHENCO) ;

P. 414. Folk music of France (Berry, Normandy, Provence, Orleans,

Bretagne, Vendee, Anjou, Corsica, Angouleme) (instr.:
flute, bagpipe) (notes: PAUL ARMA);
hurdy-gurdy, tamburine,
P. 415. Music of Peru (Aymara, Quechua, Mestizos) (notes: HARRY
TSCHOPIK) ;

P. 416. Music of the Russian Middle East (Azerbaijan, Armenia,

HENRY COWELL);
Uzbekistan) (notes:
P. 417. Negro Folk music of Alabama. I. secular (rec. and notes:
HAROLD COURLANDER) ;

P. 418. Negro Folk music of Alabama. II. religious (rec. and notes:
HAROLD COURLANDER) ;

P. 419. Folk music of Rumania (rec. BELA BART6K; notes: HENRY

COWELL) ;

P. 420. Music of the American Indians of the Southwest (Navaj o, Zuni,

Hopi, San Ildefonso, Taos, Western Apache, Yuma, Papago,
Walapai, Havasupai) (rec. and notes: WILLARD RHODES);
P. 421. Music of South Arabia (Bedouin, Yemenite Jews) (rec. and
notes: WOLF LESLAU) ;

P. 422. Traditional and classical music of India (instr.: dholak,

tabla, sitar, sarinda, algoza, tambura, gharghar) (notes : HAROLD
COURLANDER) ;

P. 423. Music of Southeast Asia (Thailand, Viet Nam, Laos, Cam-

bodia, Burma, Malaya) (notes: HENRY COWELL) ;

P. 424. Folk and classical music of Korea (notes: KYUNG Ho PARK) ;

P. 425. Folk music of Pakistan (rec. Government of Pakistan) ;

P. 426. Spanish and Mexican Music of New Mexico (rec. and notes:
J. D. ROBB) ;

_ OT __
P. Folk Music of the Western Congo (rec. and notes: LEO A.
427.
VERWILGHEN) ;

P. Songs of the Watutsi (rec.

and notes: LEO A. VERWILGHEN);
428.
P. 429. Folk music of Japan (instr. a.o. samisen, koto, surigane) (rec.
:

and notes: EDWARD NORBECK) ;

and notes: POLLY

P. 430. Songs and Pipes of the Hebrides (rec.

HITCHCOCK) ;

a.o. ghungarus, karatali) (rec.

P. 431. Religious music of India (instr.
and notes: ALAIN DANI&LOU) ;

P. Songs and dances of Haiti (rec.

and notes: HAROLD COUR-
432.
LANDER) ;
P. 433. Maori songs of New Zealand (rec. by the New Zealand Broad-
casting Service ; notes ULRIC WILLIAMS) ;
:

P. Folk music of Yugoslavia (rec. and notes: LAURA BOLTON);

434.
P. The Black Caribs of Honduras (rec. by PETER KITE SMITH;
435.
DORIS STONE)
notes: ;

P. 436. Burmese folk and traditional music patt waing, (instr. a.o.
kirn si dow; shwe-bo, de butt, o
maung saing, saung, pattala,
zi) (notes: MATING THAN MYTNT) ;

P. 439. Tribal music of Australia (Arnhemland) (instr.: didjeridu)

(rec. and notes:
A. P. ELKIN);
P. 440. Religious songs and drums in the Bahamas (rec. and notes:
MARSHALL W. STEARNS);
P. 441. Drums of the Yoruba of Nigeria (instr. a.o. dundun, gungan,
igbin, kanango, kerikwi, gudugudu, bata, shekere) (rec. and
notes WILLIAM BASCOM)
: ;

P. 442. Music of the Falashas (rec. by WOLF LESLAU) ;

P. 443. Music of the Ukraine (instr. a.o. duda (bagpipe), balalaika)

(notes: HENRY COWELL);
P. 445. Songs and dances of the Flathead Indians (rec. by ALAN P.
and BARBARA W. MERRIAM; notes: ALAN P. MERRIAM);
P. 448. Folkmusicof the Amami islands (instr, a.o. jyabisen (primitive :

shamisen) (rec. and notes DOUGLAS G. HARING)

: ;

P. 449. Japanese Buddhist rituals (rec. and notes: DOUGLAS

G. HARING);
P, 500. Negro folk music of Africa and America (rec. by MELVILLE J.
and FRANCES HERSKOVITS, ANDRE DIDIER, HAROLD COUR-
LANDER, WOLF LESLAU, EMMA COURLANDER, RICARDO E.
ALEGRIA, Odeon, Singer and FUENTES) (notes: HAROLD
COURLANDER) ;

P. 501. Folk music of the Mediterranean (Algeria, Sardinia, Albania,

Syria, France, Egypt, Morocco, Italy, Tunis, Greece, Turkey,

_ 32
 Spain, Serbia, Libya and Palestine) (selection and notes by
HENRY COWELL) ;

P. 502. African and Afro-American drums (Watusi,

Baya, Yoruba,
Bambala, Mahafaly, Haiti, Virgin islands, Puerto Rico,
Jamaica, Cuba, Bahamas, Surinam, Brazil, U.S. A.) (notes:
HAROLD COURLANDER) ;

P. 504. Music of the world's peoples (Madagascar, Caucasus, Greece,

Japan, Nigeria, India, Russia, U.S.A., Ireland, France, Bali,
Arabia, Tahiti, Tibet, Iceland and Spain) (instr. a.o. harp,
koto, $ho, sanai, esraj, jdatarang) (selection and notes by
HENRY COWELL) ;

P. 505. Music of the world's peoples, vol. II (Serbia, Iran, Albania,

China, Congo, Finland, French Canada, Ukraine, Chile,
Italy, Kashmir, Australia, Cuba, Azerbaijan, Palestine Jews,
Sioux) (selection and notes by HENRY COWELL) ;

P. 1000. Hungarian folk songs (instr. a.o. bagpipe) (rec. BELA BARTOK;
notes : HENRY COWELL) ;

P. 1008. Songs and dances of Norway (instr. a.o. Hardanger fiddle,

langeleik) (rec. by Norwegian Performing Rights Soc.; notes:
O. M. SANDVIK) ;

P. 444. The Eskimos of Hudson Bay and Alaska (rec. by LAURA

BOLTON; notes by id. and HENRY COWELL);
P. 446. Indians of the Matte Grosso ;

P. 447. Folk music of South Asia (Nepal, Pakistan, Kashmir, India) ;

P. 450. Music of Cape Breton island;

P. 451. Music of the Bulu of Cameroun (rec. and notes by EDWARD
COUZENS) ;

P. 452. Children's music around the world;

P. 453. Tribal music of Ethiopia ;
P. 454. Folk music of Greece;
P. 455 . Music of the Yoruba of Nigeria ;

P. 456. Music of Bali;

P. 457. Greek epics and ballads ;

P. 458. Indian music of the Upper Amazone (rec. by HARRY TSCHOPIK ;

notes by id. and WILLARD RHODES) ;

P. 459. American Indians of the Northeast ;

P. 460. Temiar Dream songs of Malaya ;

P. 461. Jamaican cult rhythms (rec. and notes by GEORGE EATON

SIMPSON).

6) issued by the Malaya Broadcasting Corporation:

a collection of music from the PM-Temiar, a small tribe of forest-
 of Aborigines, the late
nomads in Perak (recorded by the Protector
H. D. NQONE) ;

c) issued by the 'Boite a Musique', Paris:

a series of Central-African music, recorded by the Ogowe-Congo Mission
(Messrs. A. DIDIER and
GILBERT ROUGET) (regions: Middle-Congo,
Gabon, Ogowe Upper-Volta, as weE Negro- as Pygmee-music;
instru-

ments a.o. sanza, musical bow, harp-zither, drums, trumpets, marimba) ;

<Z)
recorded and edited ARTHUR S. ALBERTS: Tribal, Folk and Cafe
by
Music of West Africa albums) with text and commentaries by MEL-
(3
VILLE J. HERSKOVITS, DUNCAN EMRICH, RICHARD A. WATERMAN and
MARSHALL W* STEARNS (Field Recordings, New York, 1950);
issued by the World Recorded Folk Music (editor: Prof.
Collection of
e)
CONSTANTIN BRAiLOiu) in collaboration with Unesco two albums with
:

music resp. from: the Haussa, German Switzerland, Scotland, Rumania,

Italia, Caribou Esquimo's, France, Serbia, the Spanish Jews,
and Greece;

Philips Concern: Begdja, the Gamelan Boy (a Story

of the
f) issued by the
Isle of Java, written and told by JAAP KUNST, with musical illustrations
by the Study Group for Gamelan Music 'Babar Layar') (N. 00165 L) ;

g) issued by the American Columbia under the general editorship of ALAN

LOMAX: an album Indonesia', containing music of East- and West-
New Guinea, the Aru-islands, Babar, Manuwoko, Kai, Banda, Ambon,
Bali, Borneo (Dyak) and Java; and several other albums, among which
one containing African Music from the French colonies edited by
ANDRE SCHAEFFNER and GILBERT ROUGET;
one with Aboriginal Songs from Australia and Eastern New Guinea, recor-
ded by A. P. ELKIN and A. P. DUPEYRAT and edited by A. P. ELKIN;
one with Venezuelan Folk Songs, edited by JUAN LISCANA and also
containing Orinoco Indian material taken by PIERRE GAISSEAU;
one with African Music from the British colonies, recorded and edited
by HUGH T. TRACE Y;
one with Folk Music from Japan, the Ryu-kyus, Formosa and Korea,
recorded and edited by GENJIRO MASU;
one with Indian. Folk Music, recorded and edited by ALAIN DANE&LOU;
A) issued by 'Contrepoint' a splendid L. P.
:
record, made by GILBERT
ROUGET with the aid of JEAN KOROMA, of the music of the Malinke and
the Baoule tribes, Upper Guinea, French West Africa (No. M.C. 20.045) ;

issued by Elektra, Stratford: Voices of Haiti (L.P. Ekl recorded

f) 5), by
MAYA DEREN.
f) by the English Decca: a
issued series of 8 L.P. records, collected by
HUGH T. TRACE Y:

34
 LF. 1084. Songs and instrumental music of Tanganyika (tribes :

Nyamwezi, Hehe, Haya; instruments a.o. sanza, ligombo

nanga (trough zither), enkoito drums);
(zither),
LF. 1120. The drums of East Africa (tribes: Nyamwezi, Nyoro/Haya,
Ganda, (Wa)tu(t)si; instruments a.o. enkoito drums, entenga
drums);
LF. 1121. Kenya (tribes: Nandi, Kipsigi, Luo, Nyika/Kambe, Nyika/
Chonye, Nyika/Girimaya; instruments a.o. kibukandet (lyre),

chepkong (lyre), oruto (lute), thum (lyre), gara (leg bells),

kayamba (castagnets), rattles);

LF. 1169. Talking and Royal Tutsi (Watusi) drums; (tribes: Tutsi,

Lokele) ;
LF. 1170. The guitars of Africa (tribes: Swahili, Zulu/Nde-ele, Nubi,
Luo, Luba/Sanga, Ngala) ;
LF. 1171. The African Music Society's choice Luba/Sanga,
(tribes:
Ganda, Mbunda, Medje, Zande/Bandiya, Nande, Tutsi,
Luo; instruments a.o. guitar, ennanga (harp), kathandi

(sanza), neikembe (id.), kundi (harp), nyamulera (flute));

LF. 1172. Congo songs and dances (tribes: Genya, Tutsi, Zande, Luba,
Bobwa, Buudu, Yogo, Mbuti Pygmies, Batwa, Zande/
Bandiya; instruments a.o. chizanshi (xylophone), Usanzo
(id.), drums, rattles, flutes, kponingbo (xylophone));
LF. 1173. Music of the Uganda Protectorate (tribes: Ganda, Nyoro/
Toro, Nyoro, Ganda/Soga, Bamba; instr.: drums, mbira,
xylophone, flute, calabash-horn, harp, lyre).

k) issued bythe Reeves Sound Studios Inc., New York:

6 records of African music, made by the Denis/Roosevelt African Expe-
dition (tribes: Man(g)betu, Babira, Bapere, Mbuti, Batwa, Watu(t)si,
Bahutu;instrumentsa.o.theRoyalWatusi drums, trumpets, xylophone).

Also a number of scientific institutions have, during the past few years,
issued some collections of exotic records. So, for instance, the Musee de
THomme, to which the musicological world owes the publication, first of a
large series of Malgassian music (recorded by
the CLERISSE mission) ; then,
at the end of 1949 another, still larger one, containing music, instrumental
and vocal, of Negro- and Pygmee-tribes from French Central Africa,
recorded by Mr. A. DIDIER during the Ogowe-Congo Mission (1946); in
1950 an album of Rumanian folk music, recorded by CONSTANTIN BRAILOIU;
in 1952 an album of African music, this time especially from the Hoggar
of the UpperOrinoco
(Tuareg and Arabian) in 1953 an album with music
;

(tribes: Guarahibo, Maquiritare,

Piaroa and Puinave), recorded by PIERRE
GAISSEAU; notes by SIMONE DREYFUS-ROCHE.

35
 caused many coUections
Also the Library of Congress, Washington,
of exotic music to be made, of
which I will mention the records, made of
CHARLES HOFFMANN); of
Znni and Sioux Songs and Dances (recorded by
of Indian and
recorded by WILLIAM N. FENTON);
Iroqnois songs (vol. VI,
XV, recorded by JUAN LISCANO and
Negjo Folk Music of Venezuela (vol. N
CHAFES SEEGER); of Seneca Music (vol. XVII, recorded by[WnxiAM
FEOTON)- of Brazil (Afro-Bahian Religious Songs) (vol. XVIII, recorded
Mexico (vol. XIX, recorded by HENRIETTA
by M. J. HERSKOVITS); of
YURCHENCO).
TMs Library has issued
a series of UP. records which were copied
from the original recordings on wax-cylinders,
made many years ago by
DENSMORE These contain some hundreds of songs
FIANCES (362413)-
American Indian tribes: vol. XXII (Chippewa), XXIII
from different

(Sioux), XXIV (Yuma, Cocopa, Yaqui),

XXV (Pawnee and Northern Ute),
and Quileute), XXXIII (Menomenee,
XXXl'(Papago), XXXII (Nootka
is added an excellent
Mandan, and Hidatsa). To each of those volumes
herself. This series has been
commentary written by FRANCES DENSMORE
followed in 1954 by another, recorded and with notes by
WILLARD RHODES,
containing American Indian music
from the Northwest (Puget Sound)
(1,34); Kiowa (L35), Indian songs of today (L$6), Delaware, Choctaw,
Creek and Cherokee (L 37), Great Basin, Paiute, Washo, Ute, Bannock and
Shoshone (Ls8), Plain-Indians: Comanche, Cheyenne, Kiowa, Caddo,
Wichita and Pawnee (39), Sioux (140), Navaho (1,41), Apache (1,42),
Pueblo: Taos, San Hdefonso, Zuni, Hopi (L 43).
The Kokusai Bunka Shinkokai (= Society for International Cultural
Relations), Tokyo, issued in 1949 an
album of Japanese music, containing
music of all kinds {gagaku Buddhist chant, w?A-music, ttwar, koto-, samisen-
f

music and many folk songs), with notes by KASHO MACHIDA (1242); the
Peabody Museum of Harvard University in 1952 an album 'Navajo
Creation Chants' (notes by DAVID McALLESTER) (i284a).
With regard to recordings of Asiatic music I may also refer to the Survey
of recordings of Asiatic music in the United States (1861) and the Catalogue
of recorded classical and music (341) for South African
traditional Indian ;

of the
recordings to the large coEection brought together under the auspices
African Music Research, since 1946, by the Hon. Secretary of the African
Music Society, the indefatigable HUGH T, TRACEY (8a, 1788 1795*) ; for
Negro music in general to GAY'S recent bibliography (6osb).
By and by the number of ethnic records has increased in such a way,
that it has become almost impossible to mention them in a booklet like
this one. Fortunately, they are for the greater part incorporated in the

catalogue made for the International Folk Music Society and Unesco by
NORMAN FRASER (571). For the Americas see also DUNCAN EMRICH (468).

-36-
 The transcription of exotic phonograms is one of the most difficult
and intricate tasks which ethno-musicological research has ever put before
itsdevotees. BtLA BART6K says about this task: 'Although perfection
cannot be attained in transcribing (...) folk music, we must always endea-
vor to approach an ideal of perfection (...) We should never tire of im-
proving and changing our methods of work in order to accomplish this
task as well as is humanly possible* (129*, p. 20). Often, in the beginning,
one finds oneself faced with apparently unsurmountable difficulties,
inextricable rhythmic constructions, indeterminable tones.
Each individual investigator will invent his own method, manners and
expedients. I only recount my own experiences in this field of work, where
each is free to surmount the difficulties according to his own personal insight.
It is best, when
proceeding to transcribe a phonogram, to start early
in the morning; the fresher one
feels, the sharper one's hearing, the greater
one's patience, and the more subtle one's acoustic imagination. I would
remind those who are blessed (or cursed) with 'absolute pitch' that fatigue
causes the inner norm of hearing to rise; in other words, that, when one is

tired, as at the end of a long day's work, one is inclined to hear everything

slightly sharper (up to half a tone) than it sounds in reality.

When transcribing from flat gramophone records, one should, if at all

possible, obtain the use of an electric gramophone with a pick-up; this

obviates repeated interruption and rewinding of the mechanism, and in
addition ensures constancy of speed, and, with that, of pitch.
It needs no stress that the room in which transcription takes place
can never be too quiet; the slightest outside sound distracts the ear and
the mind; more or less 'musical' sounds even make transcription totally
impossible. This is another reason why transcription should preferably
be done in the very early morning, when most mortals are still asleep.
The gramophone or phonograph should be placed at one's left hand.
Before setting anything on paper apart from the title of the piece to be
transcribed and the number of the phonogram play the whole record once
through, so as to a
get general impression of the piece, and to know whether
to put a treble- or a bass-clef at the beginning of the stave. (Ultimately, one

generally transcribes in the treble-clef as far as possible, if necessary with a

note to the effect that everything sounds one octave lower or higher). Another
advantage of this preliminary hearing is that it gives one an opportunity
to learn something of the tonality, the rhythm and the general structure.
We then start on the actual work of transcription. We first play a few
tones somewhat rounded-off for preference,
say, a melodic fragment,
of a few seconds length and endeavor to write this down at the right

pitch and in the correct rhythm. We repeat this first attempt a few times,
until we are perfectly sure that the transcription approximates melodically

37
 real thing, after which we
and rhythmically as closely as possible the
take a step forward, also of a few tones, each time again playing the record
right from the beginning and taking great pains to check up whether what
has already been written down tallies with what one hears. The result
will frequently be only an approximation be it a rather close one to

realty. For, most exotic peoples

use tonal sequences and intervals differing
from those of us Westerners; and rhythmically, too, they often do things
that strike us as incomprehensibly complicated and inimitable. The diffi-
culty in this, moreover, is to know what is essential in what we have heard,
and dne to imperfection of the singer's voice or the player's instru-
is

mental technique, or has rhythmic feeling. In the case of primitive peoples

we may say: the way they perform a piece is the way it is intended; there
is usually no standard model, no norm hallowed by tradition; what is

played or sung the emotion, rendered audible, of that particular person

is

at that {Articular moment; a subsequent performance by the same player

or anger of the same piece would turn out different in many respects,
because the performer's emotion at that moment would be different, for
instance, experienced either more or less intensely.
However, even apart from this difficulty, there is another, more or less
afcfa to it: how be allowed
far should the precision of the transcription
to go? It is possible, by applying a mechanical-visual method of sound-
regfetraJion (e.g., by recording the sound-curves on a rotating cylinder)
to carry the exactitude of a transcription to a point where one cannot
see the wood for trees, so that the structure of the piece transcribed has

got completely out of hand. In my own view, the transcription by ear,

in European notation, as nearly exact as possible, combined with the
measurement of the actually used intervals is nearly always sufficient
for ettao-musicological purposes. In that case, however, to be recom-
it is

mended, when publishing the results, to give some sort of account, by

way of introduction to, and justification of, the transcription. For this
purpose, I myself use the following method. On a set of horizontal lines,
each representing the sound-a>ntinuuin, I place (a) on one of them the
tone-points of the European tempered scale (either all, or only those used
in the transcription of the piece in
question), and (6) on the other (s) the
tone-points of the scales actually used by the performers of the piece
transcribed. One of the tonal points of each of the
respective scales is made
equal to the other(s), and, therefore, placed on the same point on both
for, as the case may be, all) lines; and these corresponding tone-points
are then connected by a vertical dotted line. From the other
tone-points
on the lines of the measured scales also vertical dotted lines,
intersecting
the European scale-line, are either raised or
dropped, to show the extent
to which the tones and with those, the intervals of the piece tran-

-38-
scribed deviate from the European tones approximating them in the tran-
scription. In addition, the sizes of the intervals are given in cents, and
vibration figures of the scale-tones are also added.
The example on p. 134, fig. 49, in which a comparison is drawn between
the Javanese pelog- and slendro- and the European tempered chromatic
scale, may clarify this.
Accidental, involuntary deviations in pitch may be indicated in the tran-
by some mark or other above the notes to which they belong.
scription itself
Apart from the exact rendering of pitch and rhythm, it may reasonably be
expected that a good transcription gives as many indications as possible with
regard to the style of interpretation. Experience has shown that the marks
used for this purpose in our European notation are inadequate to this end.
This led OTTO ABRAHAM and ERICH VON HORNBOSTEL to the publication
of their treatise Vorschlage fur die Transkription exotischer Melodien (833).
In spite of this, unification of the transcription is still far from being
attained; and so, the CIATP finally convened, in July 1949, a conference
of specialists at Geneva, with instructions to effect, if possible, this unifi-
cation. Naturally the recommendations formulated at this conference

possess no legal sanction and cannot be enforced; it remains to be seen

whether ethno-musicologists in general will be prepared to avail themselves
in future of the transcription-rules recommended by the conference. 1
The musicologist's skill in transcribing must, of course, have attained
a certain level of faithful interpretation if his rendering is to satisfy us.
As we said before, practice plays a considerable part. I further believe
that having 'absolute pitch' can be a factor of great utility in this work.
Its possession, however, is no conditio sine qua nan; those who do not

enjoy this faculty and they constitute the majority, also among the
musically talented have generally developed their relative hearing to a
far finer pitch than their 'absolute' colleagues, and are able, it seems, to
arrive at most acceptable results also by this means.
But for either of them the all-important thing is to have a perfectly open
mind as regards the piece to be heard and transcribed. One must be on
one's guard against the temptation to presuppose or imagine the presence,
in exoticphonograms, of the particular rhythmics and the equality of bar-
length typical of most Western music, or of involuntarily hearing the strange
melody 'harmonically', i.e. as if it were based on unplayed harmonies.
For the sake of legibility, however, it is advisable to put a bar-line in
those places where the rhythm seems to call for one (roughly, always before
a prominent accent or 'down-beat'), as well as vertical dotted lines whenever
the 'bars' created thereby contain complicated rhythmic formations in

1
One will find a summary of the results, attained by this conference, in the CIAP-Information
No. 15/16 of Nov./Dec. 1949 and in a brochure, issued by the same institution in 1952 (1376).

39
 units. Greater melodic
order to indicate the more elementary rhythmic
closed by a double bar-line.
periods might be
the same phonogram
No doubt one will frequently feel, when tackling
an inclination to distribute the bar-lines differently.
some days later,
in the music of many
The reason for this is the fact that accentuation
exotic peoples is much weaker than that in
Western music; in some cases
because we Westerners
this accentuation is put into it by the investigator,
seem to feel the need of making what is heard more comprehensible by
1

'phrasing it in some way or other.

When dealing with vocal records

one should also try to get hold of the
is anything but easy,
text. This, especially in the case of the primitives,
unless one masters the native language (as many
missionaries do), and

words in of their being recorded only indis-

so understand the sung spite

tinctly bythe To ask

phonogram. for the text just sung, after the per-
the texts are very often im-
formance, will generally prove futile; for
itself. This difficulty is not present to
provised during the performance
the same extent in the case of peoples on a higher cultural level, for in
their case one frequently has to do with existing, standardized texts.
But even there it is necessary to collate the text with the vocal tune on
the spot (that is, if one has been able to put the melody approximately
on paper during recording), since the manner in which the words are dis-
tributed over the notes usually deviates considerably from the way in
which we Westerners would proceed. A correct knowledge of the text will
often have influence on the manner in which one thinks the melody should
be phrased.
The complexity and arbitrariness of the rhythm of some exotic melodies
may be evident from the example on p. 135, fig. 50, which I transcribed some
years ago from a phonogram taken in Central Flores. When in addition,
the voice moves in intervals deviating from our own Western ones (which
was not the case in the district in question), it is easy to imagine the trouble
taken before the melody has been fatiltlessly caught 'in the little cage of
our musical staves* as the late Father HEERKENS (702) an authority ,

on Horinese music, expressed it.

1 have further found especially in the case of vocal, but also in string-
insirumental performances that the 'corresponding' tones are not quite
stable. Moreover, the entire pitch is, on occasion, gradually raised or
lowered in the couise of the performance. In such cases it may be advisable
to indicate this alteration of pitch in the transcription by inserting the
vibration figures above different notes whose pitch could readily be de-
termined (ie. often those with a fairly long time-value).
This peculiarity is, for that matter, by no means a monopoly of exotic
musical expressions; Western vocal music, including that sung by really

40
good singers, knows similar deviations from the theoretical scale, as is clearly
evident from the tone- and interval-meastirements made OTTO ABRAHAM by
from the performance of a song by a well-trained European singer. *

It may be apposite at this point to say a word or two about the

fairytale
of the 'simple ratios',
which, according to the opinion of many, characterize
the European tonal system as the perfect and chosen one. STUMPF 2 , indeed,
was able to prove that intervals which are heard and felt to be perfectly
true trained European ears, are
by musically precisely the ones that escape
all attempts at representing them by one of the
simple ratios in question;
their constituent tones have only approximately such a ratio; in
reality,
consonant intervals felt to be perfectly true proved to be slightly greater
than those which could be represented by the simple proportions (while
the subjective tendency to enlarge them increased in accordance with the
size of the consonant intervals).
There are yet other deviations from this numerical
simplicity to be
noted in musical practice, apart from those just mentioned.
Thus, European music has for some centuries known the so-called 'equal*
(better: 'proportional') temperament, i.e. the 12 steps into which the
space within one octave has been divided, have been made perfectly equal.
The result of -this was that nothing whatever was left of that simplicity
of the vibration ratios, with the sole exception of that of the octave itself.

Again, one tone, i.e. the tone preceding the tonic in the scale, is always
taken sharp when, in melodies, the tonic immediately follows it; this
tone (the 'leading note') is sung or played on a string-instrument in such a
way that it forms, with the tonic that follows
it, an interval considerably

smaller than a semitone. The same

applies to the tones that have a leading
note function in respect to the tonic immediately below it, and in respect to the
dominant.
Generally speaking, moreover, the seconds and sevenths in our tone-
system are in themselves fairly unstable as it is. Professor BALTH. VAN
DER POL, a Dutch acoustic specialist, in his published lecture Muziek &n
elementaire getallentheorie*, quotes in this connexion the composer and
theoretician PAUL HINDEMITH, who declares as follows: 'Die Sekunden
und Septimen sind starkeren Schwankungen unterworfen als alle anderen
Intervalle; sie kommen in Melodik und Harmonik in den mannigfaltigsten
Grossenabstufungen vor'. (Le. 'The seconds and sevenths are subject to
greater fluctuations than all other intervals; they occur in melodies and
harmonies in the most multifarious dimensions'). 4
1
Dr. 0. ABRAHAM, in 'Psychologische Forschungen.', vol. 4, p. i ff. (1923).
2
Maassbestimmungen aber die R&inheit consonanter InieroaUen (in collaboration with M. MAYER)
(1742).
8
'Archives du Muse Teyler', voL 9, p. 507 ff. (p. 528), 1942.
4 PAUL HINDEMITH, Unterweisung im Tonsatz (Mainz, 1937), vol. I, p. 95.

41
 In the summary of Ms above-mentioned address, Professor VAN DER
POL declares: The correct relative pitch of any given note depends entirely
between that note and
upon the organic melodic and harmonic relation
those surrotinding it. Thus, two modulations, e.g., from C to G, may quite
well lead to two different pitches of the respective G's, according to the
respective constructions of
the two modulations. Ideally speaking, this
fact alone creates certain a priori necessary variations in pitch, which are
a
conditioned by the organic interconnexion'.

Further, a good piano tuner invariably tunes the high register of a

piano a trifle sharp, since it would give a flat impression if it were theo-
reticallytuned correctly.
be perfectly dear from the above that Western musical practice
It should
is also far from adhering to the simple quantitative proportionalities of

the so-called 'natural' intervals (which, as we know, are identical with

those of the harmonic overtones). 2
But even assuming that European music should actually have adhered
strictly to this structure, which it postulates as the natural, as its credo,
so to speak Le. the scale structure based on the principle of consonance
even then the fact remains that other peoples have taken quite different
principles as their starting point in constructing their tonal system; or,
rather since these words, in effect, represent the course of affairs in
reverse order of sequence (Le., as if the scales came first and the music

afterwards), and, moreover, attribute to the whole process a far too conscious
and purposive character that their musical expressions often appear to
rest upon entirely deviating foundations foundations which, in the last anal-
;

ysis, would sometimes seem to derive essentially from a non-musical source.

In many primitive musical expressions we may distinguish a number of
'Gerusttone' ('skeletal tones'), which are more or less consonant with
respect
to one another, and form the larger intervals (octaves, fifths,
fourths);
these are then subdivided by intermediary, not quite constant tones.
In this subdivision, what is important is not so much the size of the intervals,
but rather the direction (rising or falling) of the melodic line. To use a
felicitous comparison of the musicologist ROBERT LACHMANN, it is something
like the sketching of dance-steps: their direction and order of sequence,
not the precise length of the steps, is what matters (1179,
p. 10). Never-
theless, as VON HORNBOSTEL ascertained, it appears that the smaller
intervals thus formed do divide the 'skeletal* intervals
according to ratios
found in intervals which are formed
according to the consonance principle
(1068, p. 14/15, note 24).

1
Op. <&., p. 532.
2
VH* also, on tMs question, YVES CHARBON, Essais d
propos de la Revue
justesse attractive ('La
Maacale*, voL XIII, p. 166 ft), 1932.

42
 As one of the, in effect, non-musical elements referred to above, we
may mention the visual-esthetic feeling which demands, for example,
that the stops on a flute shall be placed at equal distances from each other,
or as on some bamboo flutes always in the middle of each internode ;
or, again, that strings shall be subdivided in a certain manner according to
some hieratic standard.
This latter point leads us to another non-musical element, namely the
sanctity of a given standard of measurement or a given number. The
fact that so many scales contain either 5 or 7 steps to the octave is sometimes
attributed to the sanctity of the numbers 5 and 7, This belief in the holiness
of certain numbers is found in large parts of the world; in the majority
of cases it is the number 7. COMBARIEU, in his Histoire de la Musique (306,
the Chinese, the Hindus, the Chaldeans
vol. I, p. 39) > asserts this in respect of

(Babylonians), the Phoenicians, the Greeks, the Persians, the Arabs and
the Turks. In the Indian archipelago, too, this special position of the number
7 is upheld. Dr. A. C. KRUYT, in his treatise Measa, een bijdmge tot het
dynamisme der Bare'e-sprekende Toradja's en enkele omwonende volken
1
-,

gives several examples of this. And as regards the sanctity of a linear

measure I refer the reader to VON HORNBOSTEL'S important article Die
Maassnorm als kulturgeschichtliches ForschungsmiUel (879).
Conceptions such as these hold that there is or rather, that there

ought to be a relation between a tonal system and the structure of

the universe; the harmony of the spheres must be reflected in the har-
mony of music. Also the contradistinction between the two basic principles
of Life the male and female principles, Yang and Yin
i.e. finds expres-
sion in certain scale systems, as, for instance, in the Chinese tonal system.
Tone systems resting on foundations other than the consonance principle
often generate melodies which are essentially unsusceptible to harmoni-
zation, unless the deviation from the scales based on the consonance
principle is so slight as to be negligible in practice, as in the case of the
European tempered chromatic scale.
In contrast to this, West-European melodies are always susceptible
to being harmonized; even the seemingly monodic West-European folk-
music is based on unsung and unplayed simple harmonies, and in this
forms a sharp contrast with other, non-European, as well as many East-
European, tunes, which in many cases are purely and simply melodicaL
This, however, does not say that there exist no non-European multi-
part music. On the contrary, Javanese and Balinese orchestral music
to mention only some very conspicuous examples are there to prove
the opposite. But this multi-part music is not a harmonic one; it knows

1
Second part ('Bijdragen Taal-, Land- en Volkenkunde', Vol. 75 (1919)* P- 3^ ff. (114 *))

43
 its harmony has, one might
of no teaching of the construction of chords;
character. Often we have to do with so-called
say a more or less incidental
'het'erophony', a
term which, in this meaning, was first used by STUMPF \
is the result of the playing around,
and making variations
This heterophony
different instruments simultaneously.
Besides this
on, a nuclear theme by
heterophony often find multi-part music, based on 'overlapping' and
we
even real canons (1101).
so leading to primitive forms of polyphony,
on the
Exotic music which gives the impression of being built entirely
real fourths and
consonance principle, and in which, therefore, fifths,

thirds (including the notorious 'interlocking'

and 'pendular' thirds) are

heard, may be found, for instance,

in places where a negroid element plays
a role in the miscegenation, as, of course, in Negro Africa, but
also in large

in the districts Nage and Ngada in midwest

parts of New Guinea (1102),
Flores (1083), and in Melanesia (cf., for instance, 849).

***
fact-material
The, in the above shown manner, gradually gathered
had become about the beginning of the 20th century already so extensive
and variegated, that examination could be made regarding its service-
ableness for investigation as to racial and cultural relationship.
Of the elements brought into question may be mentioned, in addition
to the already discussed characteristics of musical expression (p. 19/20) :
structure (identity of intervals) ,
a) identity of scale systems, both as regards
and as regards absolute pitch (identity of diapason) (cf. 841, 879 and
1094);

6) identity of melodies or of melodic fragments (cf. 552, 1052, 1112 and

1899)-
a
c) concurrence in structural melodic characteristics ;

8
$) preference for certain rhythms, intervals and tone-successions ;

e) the occurrence in different regions of the same, exceptionally formed,

musical instruments *;

f) the occurrence of musical instruments concurring not only in their

1 It
may be noted that the term heterophony is used, in later years, again in the sense which it,
apparently, originally had in PLATO'S famous locus of the dialogue 'Laws' (812 D). Cf. J. HANDSCHIN>
MmikgescMcMe (Bale, 1948), p. 61.
a
Cl, for instance, the 'tiled* melodies of the Mamberamo Papuas and of some N.W. Australian
tribes (1068, 1102).
3
F<sr instance the preference for the tritone, combined with ternary rhythms, of the East-
Floriaese, the South Nias-tribes and the Angami-Naga's and probably yet other peoples with a
megaMthie culture (1083, P- 35 *)
4 F.I
those strangely formed metal instruments, which, in Java, are called kemanak (fig. 40) and
do also occur in Central Africa (fig. 41) and N.E. Siberia (cf. J. KUNST, De Toonkunst van Jam
(1071), p. 131/132= M., Music in Jam (1099), p. 181/182).

44
 essentiality, but also in typical details, which are absolutely unnecessary
for the sound-production. 1

A difficulty inconnexion with these data is that it is often impossible

to ascertain whether the stated concurrences find their origin in
original
race-relationship, or in later cultural influences. MARIUS SCHNEIDER'S
dictum 'Die Vortragsart ist ein Rassekriterium, der Vortragsstil ein Kultur-
kriterium' (1640) (i.e. the kind of expression is a racial, the style a cultural
criterium) will not always help us sufficiently in drawing the borderline
between those two elements.
in this field were WILHELM TAPPERT, the Author of Wan-
The pioneers
dernde Melodien (1772), OSKAR FLEISCHER in his respectively from 1900
and 1902 dating treatises Ein Kapitel vergleichender Musikwissenschaft
(551) and Zur
vergleichender Musikforschung (552) and ERICH VON HORN-
BOSTEL who
published an article in 1911, titled Ueber ein akustisches
Kriterium fur Kutturzusammenhange (841). The time had, however, ap-
parently not yet come for such speculations; neither TAPPERT'S and FLEI-
SCHER'S, nor VON HORNBOSTEL'S
treatises found any response. But when

later,about 1921, the last mentioned divulged his hypothesis over the
structure of the oldest pan-pipe- and xylophone-tuning, the later much

(i.e. theory of blown fifths), the activity,

contested 'Blasquintentheorie'
was roused.
also of other investigators,
In this connection I may mention the Frenchman GEORGES DE GIRON-
COURT, who in his book La Gfographie musicale (629), an enthusiastically
written synopsis of the differences in musical expression among the peoples
of the world, time and again points out the common elements that suggest
a (? racial, ? cultural) relation, a subject which he, in other publications 2 ,
worked out at a later date. 3' 4

***
1
Ci, for instance, the pointed' flute (German: Spitzflote) of Central Timor, called jeku (fig. 42),
which is identical with the dunda of the province of Sokoto (N. Nigeria) (fig. 43), also in its ac-
cessoria. (Cf. 1098, p. 9 and figs. 42 and 43).
*
Recherches de Geographic musicale en Indochine (632) ; Recherches de Geographie musicale au
Cambodge et a Java (633), and others.
8
It is regrettable that the writer usually doesn't take into account possible differences in scale-
structure; with a few exceptions he writes everything in European staff-notation without further
diacritical signs or tone-measurements. After all that has already been mentioned, it will not be
necessary to point out how this method of work, which reminds one of that used in the pre-phono-
graphic period, can suggest concurrence, that in reality is not there, and miss relations, that exist.
Though we must conclude from the fact that Mr. r>E GIRONCOTJRT speaks (in a laudatory
manner) of other investigators in the same field (at least in his later writings) that he was ac-
quainted with their work, still he calls himself 'le crdateur d'une nouvelle science, 'la geographic
musicale" (i.e. the creator of a new science, 'musical geography*). This creation of his is then said to
have taken place in 1927 in the November number of the periodical *La Ge"ographie' and during a
lecture, held on May 25th 1928 for the 'Socie'te' de G6ographie% Paris.
Although Mr. r>E GIRONCOURT in the eyes of other ethno-musicologists occasionally seems to
be a little bit adventurous in his conclusions, part of his work, in the first place his study Motifs
de chants cambodgiens (631) and his Recherches de Geographie musicale en Indochine (632) the
latter illustrated with a wealth of excellent construction-drawings of complicated bamboo instru-
ments is worthy of our full attention.

45
 have been propounded
Howdid music come into being? Theories galore
almost say, as many theones as
to explain this phenomenon; one might
there have been investigators of the problem. ^

be found in, among

Articles summarizing the various hypotheses may
other works, STUMPF'S Die Anfange der
Musik (1746), and G. REVESZ'
treatise Der Unhung der Musik (i 4 5S)-
The latter author gives the more
theories put forward \
detailed and extensive survey of the
under the
(1)
There is, first of all, the hypothesis, which originated
that is an expression whose origin
influence of Darwinian thought, singing
of birds is supposed to be closely related
is purely sexual, just as the singing
This however, is contradicted (a] by the fact
to their sexlife. assumption,
the mating season, and (6)
that many birds sing quite as lustily outside
the absence of any reason why human call-notes
should precisely have
by
to adopt the form of a melody with fixed
and transposable intervals.
for that have rendered
(Recent animal-psychologic investigations, matter^
that the purpose of the bird's song is to mark the
plausible the theory
boundaries of each individual bird's 'power-domain').
Another theory isthat of 'imitation', i.e. the imitation of the bird's
(2)

song. Against this it may argued that nowhere in the world do we find
in the manner of any species of bird (although
any primitive people singing
intermix their songs
many primitive peoples, especially hunting tribes,
with birdcries) (843), And further, that the very nature of the bird's song

completely differs from that of human singing, i.e. it represents purely

'unmittelbare und zwangsmassig entstandene Reaktionen biologischer
Zustande des Tiermdividuums'
(ie. originating
direct, compulsively
2. It is 'ein
reactions to certain biological states of the individual animal)
vererbtes, entwicklungsunfahiges, unveranderliches, starres Ausdrucks-
* Some Giber articles and books in this field, not yet mentioned on
p. 45, are (in chrono-
logical sequence): PAtn, DBIII&VXXXB, (360) ; J. KUNST and C. J. A.
La Musique Came au Japon
KUNST-VAN WELY, J>& Toonkunst mn
Bali (1062), especially par. 13; HERBERT HUBNER, Die
Musik im Bismesrck-ArcMptl (915) j J. KUNST, De Forigine des ichelles musicales javano-balinaises
(1067) ; CURT SACHS, Geist und Werden der Musikinstrumente (1537) ; ERICH
VON HORNBOSTEL and
ROBERT LACHMANN, AsiatiscU PwraUelm mr Berbermusik (894) ; HANS WIESCHHOF, Die afrikani-
sclsenTnmmeln nnd ifae avsserafrikamschen Bexiehungen (1882) ; J. KUNST, Oude WesUrsche
Keleren mil Ovsterscfae fawten (1070) ; id., Bin musikologischer Beweis far KuUurzusammenMnge
n In^ones&n wrmittf&ch Jawa wnd Zentral Ajrika; id., A musicological Argument for
R^txMonsMp tetiamen Indonesia probably the isU of Java and Central Africa (1073} ;
DAK CKERT, Wandemde Liedmeisen (328) ; CURT SACHS, Les Instruments de Musique de
caif (1544) J HEHRY GEORGE FARMER, Reciprocal Influences in Music 'twixt the Far and
Middle Ernst (52iA) ;
ike origin of the P'i-p*a (1008) ; CURT SACHS, The History
SHIGEO KISHIBE, On
of Mmictd Instruments (1546) ; FRITZ BOSE, Ktangtf&e ah Rassenmerkmale (180) ; J. KUNST, A
%yptkes$s about ike origin of the gong (1095) j WALTER WIORA, Alpenldndische Liedweisen der Fruhxefc
vmd des Mittoiaiters im LickU vergleickender Forschung (1896) ; id., Zur Fruhgeschickte der Musik
in Ac, Alp&nUn^m (1894) J $&-, EmropSAsdher Volksgesang (1899) ; J. KUNST, Kutturhistorfscke
Bezienungsn z^ischen d&m Balkan nnd Indonesien (2nd ed. Cultural relations between the Balkans
:

and Indonesia) (1208 and 1112).

1
Cf. also J. HAJTOSCHIN, Mw&gesclmcUe (681), p. 29 ff.; CH. S, MYERS (1343), and SIEGFRIED
(i345).
z, op. cU. t p. 70.

_ 46-
mitter (i.e.
an means of expression, incapable
inherited, rigid, unchangeable
x
of invariably sounded by the same individuals at the
development) ,

same pitch. (Professor Rivfisz, in common with STUMPF, considers the

transposability of music one of its typical and fundamental characteristics, the
two others being, according to him, the existence of fixed intervals and their
use in all sorts of tone-combinations in different rhythmic patterns). 2
(3)
A
third hypothesis is the so-called
'rhythm-theory', which holds
that music generated from rhythmic movements, especially from those
3
performed while working The great protagonist of this theory is CARL
.

BUCHER, the author of the weU-known book Arbeit und Rhythmus (234).
Both STUMPF and REVESZ reject this theory the latter, among other things,
;

on the ground that music could hardly have generated from actions which
themselves are soundless. It is, of course, certain, that music proved capable
of lightening communal labour once it had come into existence; as it hap-

pens, however, really primitive peoples do not know any such common
labour necessitating rhythmic movements that might lead to the pro-
duction of working songs. And even at present the number of such working
songs is only small among more primitive peoples; much smaller, for
instance, than that of their magico-religious songs and dance melodies.
(4) fourthAhypothesis derives music from sounds uttered under the
stress of emotion. 4 These sounds, however, are too spontaneous, too

they are too much in the nature of unchangeable reflex-ex-

instinctive;
be able to lead to the creation of vocal
pressions of affective states to
music, which precisely presupposes a psychic state that has risen above
the primary affects.
(5) Professor Rvsz
also rejects the theory according to which vocal
music arose from the * This
lalling of an infant. 'singing' is either produced
quite unconsciously and instinctively, or even at an early stage
melodic ; in that case, however, it is undoubtedly pre-influenced by the
5
singing of older persons, or by the child's hearing instrumental music.
6
(6) Finally, there is the theory of 'the melody of speech*. This hypothesis,
too, according to The laws of
both STUMPF and RVESZ, is untenable.
sound governing speech are completely different from those of music.
Speech and this surely is the main contra-argurnent knows no fixed

REVESZ, op. tit., p. 70.

See also Studie fiber Vogelgesang (1141) ; id., Der Ursprung der Musik im
ROBERT LACK, Eine
Lickte des Tiergesanges (1148) and HEINZ TIESSEN, Musik der Natur (1783). The last named author
makes an exception for the 'amseT (black bird), who, according to him, is a real creative artist.
STUMPF, op. tit., p. 20; REVESZ, op. tit., p. 72.
REVESZ, op. tit., p. 73.
See on children's singing also HEINZ WERNER, Die melodische Erfindung im ff&hen Kindesatter
(1878) und FRITZ BREHMER, Melodieauffassvng vnd melodische Begdbung des Kindes (223).
op. tit., p. 14 fl; REVESZ, op. tit., p. 74; vide also WILHELM SCHMIDT, S.V.D., Ueber
8
STUMPF,
WUNDT'S Volkerpsychologie ('Mitteilungen der anthropologischen Gesellschaft in Wien', vol. 33,
p. 356 ft).

47
 exclusively on the person's
intervals; themovement of its tones depends
mood prevailing at the moment of speaking.
Father SCHMIDT, conclude
(7) Both the authors cited above, as well as
the call from the distance, of
as the most plausible explanation, that
it is

be regarded as the origin of

one human being to another, which should
vocal music \ I am inclined to agree with this hypothesis; indeed,
fully
as early as 1922, and without being
aware of the content of the existing
in the
treatises at the time, I myself (in a paper on Het Volkslied, published
Flemish periodical 'De Muziekwarande') mentioned, more or less in passing,
the call as being the 'germinal cell' of folk-song.
once we come to
Whatever may have been the origin of vocal music,
the now most primitive, purely vocal melodies, we find that it
existing,
and psychologically explainable
obeys certain human, physiologically
laws, while, on the other hand,
there is not yet any question of real tonal

systems. Such systems

do not come into being until a people's culture
can be
has at its disposal musical instruments on which tonal sequences
do not make their appearance until a relatively
produced; these, however,
kte stage of It is true that prehistoric flutes, made of bone,
development.
here and there in Europe, with fingerholes or stops,
have been excavated
and on which tones of different pitches can be played; but these stops
or less arbitrarily; the intention of the
appear to have been placed more
makers evidently did not go further than to try to produce different tones,
not tones having a pitch intentionally determined beforehand. But even
to play a consciously intended scale
supposing that it had been possible
on these flutes,
prehistoric this would not amount to much, since, notwith-
flutes are already the products
standing their relatively great age, these
of a fairly high form of civilization, developed some hundreds of thousands
of years later than the period at which we may assume that the first 'music'
was heard on earth-
There is no doubt that vocal music is infinitely more ancient than instru-
mental music (although, according to some Africa explorers, the mountain
gorilla's are in the habit of beating
with sticks on (Phollow) trees) 2 .

As regards the origin of instrumental music, there exists a thought-

3 the
provoking article entitled Anfdnge der Musik by CURT SACHS (iS33)

STUMPF, op. at, p. $6; WILHELM SCHMIDT, op. tit.; Rvsz, op. tit., p. 75-
1
s
We may as&mae that BONHMT-BOURPEIXJT'S communication in his Histoire de la Musique (i7i5)
to tbe effect that 'the monkeys in New Guinea play the flute', is not based on the author's own
observation (there being no monkeys at all in New Guinea) unless it was meant- as a hardly
flattering appreciation of the personality of the Papuas. In regard to musical capabilities of
monkeys see also J, A. BIERENS DE HAAN, IHscrimination of musical tempi by a young chimpanzee
('Archives Neeriandaises de Zoologie* VIII, p. 393 ff.), Leyden, 1951, from which article it appears
that a chimpanzee can be made to discriminate between tempi as close to each other as Andante and
Adagio!
* The same subjectntatter is also dealt with in the Introduction of the same author's Geist und
Werden, &&r MmiMnstrumente (1537).

-48-
great scholar
on musical organology, one-time professor at Berlin, now
at New York.
Professor SACHS points out that vocal and instrumental music origi-
nated from two totally different spheres, and must have existed side by
side for a very long time, with hardly any mutual connexion. For, as is
convincingly evident from customs and traditions still found today all over
the world, instrumental music, taken as a whole, derives from the world of
magic ritual; vocal music, although in later periods certainly also used for
magical purposes (incantation!), originating as we suppose, from the call,
will have been, in the first instance, discharge of affects.
We modern Westerners are able to imagine ourselves in the emotional
world of the primitive mind only to a small degree most readily, maybe, ;

during our dreams. In the waking state, we are too analytically-minded;

we have become too intellectual. Being, thinking, experiencing, feeling:
these are categories which we shall not easily confuse. But the primitive
hardly, if at all, makes these distinctions. He lives far more subconsciously,
and more from an inner unity of being. His distinction between
infinitely
Ego and the outer world, too, is more vague; macrocosmos and micro-
cosmos do not, as in our own case, confront him with analogies and paral-
lelisms they rather appear to him as identical.
;

On this level of consciousness, the aim of all actions is: the preservation
of life.

SACHS, in a masterly and fascinating pericope, has explained this in a

convincing manner he supports his argument with a wealth of documentary
;

evidence, mainly derived from the history of the development of two

musical instruments: the drum and the flute.

These two instruments, for that matter, are not by any means the most
ancient that man learned to fabricate when he awoke to consciousness
however early in the history of human development they may have
appeared on the scene. The oldest instruments were found by man on his
own body; stamping and clapping of hands must have provided the first
l
'instrumental' accompaniment to the dance Also beating on one's but-
.

tocks an illustration of which may still be seen on an ancient Greek

vase (1537, Table I, fig. 3) will have provided the rhythmic background
to certain dances (fig. 32).
We may remark in this connexion that primitive man has the greatest

difficulty nay, often finds it totally impossible when singing, to

refrain from other movements. I have repeatedly noticed
making physical
this during my fieldwork in New Guinea. But even we, cultured as we
are, sometimes catch ourselves gently moving our head to and fro when

1
VIDE also 1601.

49
 when playing ourselves, that we cannot
hearing certain melodies, or find,
is the last evidently ineradicable -
keep our torso still. This, surely,
rest of the irrepressible inclination of
the primitive (who, thank God, still

slumbers in everyone of us!), to let himself go

when hearing rhythmic
sounds, and join in with them with
Ms whole being.
level of
Even when a people has already reached a high culture, this

inclination may still be present to a marked degree.

We can see this, for

instance, on some ancient Egyptian sepulchral paintings which have

come down to us, and on which the singers are invariably depicted as
gesticulating;
the basic signification of the ancient Egyptian word for
is playing with the hand, and is represented by
a hieroglyph in the
singing
form of a lower arm with a hand (see fig. 33)-
From these, at first quite

movements there later grew a kind of sign-language, in which a

involuntary,
given gesture expressed
a certain interval, or, at any rate, the direction
in which the melody was expected to move. This is
the famous cheironomy
of the ancient Egyptians, which served to replace, in this way, a probably

non-existing musical script that thus remained unnecessary, and from

which, it seems, the early Christian neums-notation ultimately developed
in later centuries (1528, p. 9). The Vedic recitations, too, it appears, used to
have a cheironomic accompaniment.
The musical instruments apart from those directly placed at man's
rattles made from the outer shells of fruits
disposal by nature, such as
which we have sound reason to regard as the most ancient, represent,
as it were, the objectivation and intensification of the clapping hands,
stamping feet, beating of rolls on the performer's buttocks; in brief, of the
'music* produced by the body; technically put: they are extensions of

bodily organs, just as, in another field of human activity,

the fork is an
extension of the hand and fingers, the spoon of the scoping hand, and the
hammer They are the instruments which we class as beating-,
of the fist.

stamping
sticks, tubes, clappers etc. From these, in the course of untold
thousands of years, there originated those countless instrumental forms
we know today; the majority, of course, not for the purpose of serving
the cause of Beauty, but, as we have said, with the aim of obtaining pos-
session of instruments charged with magical power; others, also, as ac-

companiment to the (originally magico-religious) dance.

It was once again SACHS who gave us a concise and striking account
of this development in his book Die Mmikinstrumente (1514, p. 9) He puts .

forward the plausible theory that man learned how to increase the sound of
stamping by performing it on a flat piece of wood, a rudimentary plank,
instead of on the bare soil, and suggests how the result was found to be
still further improved
by digging a cavity underneath the plank. (An
instrument of this kind is still found among the negritos (negroid pygmies)

50
in the Andamans (Bay of Bengal); among some South-American Indian
tribes, and among the North-Papuas). Or another evolution the
stamping leg was replaced by a bamboo stamping tube (such instruments
are still found, among other places, in the Indian archipelago, in East
Africa, the Pacific,and in South-America).
From the clapping of hands there arose, by way of extension-forms

of bodily organs, the countless different types of clappers, beating sticks,

beating tubes, 'cymbals', and, finally, gongs; and from the 'snapping'
of the fingers ultimately, via many more primitive forms the casta-
nets.The beating of the player's buttocks was refined and the sound made
louder by using a stick instead of the bare hand, and another stick, a
tube, or a flat piece of wood in stead of the performer's body. It must
then have become obvious that hollow objects make so much louder noises
than solid ones, and further, that smaller and shorter objects produce
higher tones than larger and longer ones. Gradually, the players must
have taken pleasure in the alternation of high and low sounds; at first,
however, without striving to obtain a particular pitch or tuning. This
may have led to that peculiar subdivision into two or three groups, which
were identified with the two sexes or the family relationships. The largest
instrument, with the deepest sound, would then be designated as the
'man'; a smaller, higher-sounding one, as the 'woman', and the smallest
and highest of all Of this, too, the present time still provides
as the 'child'.

many examples. As we already have noted above, the Chinese still know, in
musicalibus, the contradistinction yang yin = male female. But
also the Sundanese in West Java distinguish, in their panpipes, between

indung = mother and anak

=
child; and all over Java and Bali we find
'male' and 'female' drums, gongs and kenongs. (A curious thing is that,
in the latter islands, the instrument with the largest dimensions and the
the people as female, and the smaller one
deepest sound is experienced by
with the higher pitch, as male).
In the beginning, instruments of different pitches were probably mani-
later on, as people learned how to com-
pulated each by a different player;
bine them, a single player could handle the lot equally well, or even better.
The observation that a stamping plank sounds better when a hole
is dug underneath, finally leads to the discovery that a beaten sound-

tube or -rod also sounds better when a calabashgourd is placed under

it. In this evolutionary direction lies the development of the later
which either have a separate sound-body
xylophones and metaHophones,
under each key or sound-kettle (as, for instance, on the Javanese and
Balinese gender and the African marimba, derived from it), or a common
sound-box under the entire range of keys (as in the case of the Javanese

saron).

51
 No doubt the wind instruments developed much later than the very

simple instruments of the kinds discussed so far, as they do not constitute

an extension of bodily organs.
a
Perhaps the most ancient form was simple
bamboo tube. The incidental
when the wind blew against it, may have
discovery that it issued a tone,
been the incentive to produce the aircurrent by mouth. A combination
of such tubes of different lengths again produced the pleasant alternation
of high and low tones. At first, each tube will probably have been blown
with the West Florinese
by a separate individual (as is the case to this day
koi a set of loose pipes, but
,
which belong together) (fig. 45) ; later on, these
tubes were combined into a one-man instrument, and with this the pan-
pipes were born (fig. 44).
The players further learned how to produce both high and low notes
on one and the same tube, by the discovery of the 'stops' or fingerholes
an invention which, no doubt, was hailed at the time as a stroke of
into an uncut tube was overcome
genius. And the difficulty of blowing
by fashioning some sort of mouth-piece, at first by a simple small notch
in the upper edge of the tube (a modern example of this is the West- Javanese

chaKidu) afterwards by constructing, by some means or other,

;
a slit which
should drive the whole of the air blown into the tube against a sharp edge
which, as we know, is the origin of the sound produced by a flute.
A similar development may be observed in the case of the 'reed'-instru-
ments or glottophones.
The most ancient and simplest example of this group of musical in-
struments is surely the blade of grass which is held tightly between the
thumbs of both hands, as we all know from the days of our youth. Then
follows a tube with a folded blade stuck in the top opening, or a pair of
reedleaves, tied together and stuck on top of a tube; or, again, a tube
into which, by means of -a slightly oblique, either up- or downward cut,
a so-called beating reed has been fashioned. (In the first case we are
1

dealing with a 'free aerophone, i.e. a so-called 'interraption'-aerophone;

in the last case, with a clarinet; in the other cases, with simple types of
the oboe family).
In the East (and for that matter also in Europe until the iyth century),
the players of these oboe- and clarinet-forms manage to get a continuous
sound out of these instruments, by taking the entire mouthpiece into their
mouth. They breathe through the nose, and feed the air into the tube by
pressure of the cheeks, just enough to cause the instrumental 'reeds' to
keep vibrating, also during inhalation. At a later stage, the mouth is
replaced as air-reservoir by a calabashgourd (we think here of the well-
known snakechaxmer's shawm of India Proper), and later still, by a
flexible animal skin, sewn together in the form of a sack. This, then, leads
to the development of the bagpipes, and, still later, to the church organ.
Of the trumpets these are the instruments, in which the
lips of the
function as a double reed the oldest forms were
player also, without
doubt, stout bamboo segments. Such bamboo trumpets are still to be
found, for instance, in New-Guinea. The wooden ones, which presuppose
a fairly well developed boring- and cauterking-technique, must
surely
be classed with a later period.
We see from all this how important was the role played by bamboo
in the generation of the most ancient musical instruments; clappers,
beating sticks, slit-drams, xylophones, flutes, clarinets, oboes, trumpets:
they were all originally fabricated out of bamboo.
Of hardly lesser importance, it appears, was the calabashgourd, which
was especially used for all kinds of rattles, and as sound-intensifying body
or as air-reserve.
The above considerations lead us to the assumption that the first musical
instruments were invented and developed in tropical or subtropical regions.
The two materials mentioned must also have provided the means of
producing the oldest types of drams; for the other materials tho' already
existing in ancient times i.e. the hollowed out tree-trunk and the earthen-
ware vessel belong to a later cultural-historical period than those from
which the drum originated. SACHS suggests that the drum was invented
from calabash- or coconut-shells containing victuals, which were protected
against dust, loss, decay, or insects by covering them with a tight-fitting
bladder or skin.
But calabash and bamboo fulfilled their most important musical function
in the creation in a much later periodof the first string instruments.
Probably the most ancient, but, especially in Indonesian cultural regions,
to this day still perfectly vital form thereof, is the bamboo zither, with
its string(s) 'lifted* out of the tube-wall. At first
one-stringed and used
alone, later, as in the case of the wooden or bamboo keys of the xylophone
and of the flute (see above) combined into series: the so-called raft-
zithers (fig. 36).
In a later phase, the string lifted out of the tube-wall is replaced by a
stretched string made of another material, at first and here and there
(for instance, in the Nicobar Islands) even today of rattan; this turns
the instrument from being idiochord into a heterochord one. parallel A
development makes this bamboo zither from a monochord into a polychord
one, i.e. an instrument with more than one string. In order to lay the
instrument down flat, it is cut in half along its longitudinal axis, a pro-
ceeding which, later on, leads to the long-drawn zitherforms of China
(k'in), Japan (koto) and Further India (mi gyaung, the crocodile zither of
Burma and the Siamese chakl, which tho' closely akin, has lost its crocodile

53
shape). This sliced
bamboo zither still survives in a primitive, still idiochord,

but already polychord form in Flores and Timor (fig. 35).

of a resonator
Another chain of development sees the fixing again,
to the bamboo tube; and along this line there
of course, a calabash
that culminate in the royal instrument which,
develop the instruments
called bin and in s ih India vina.
in North India, is (fig. 34),
of stringed instruments are
In addition to all these, a large number
from the hunter's bow, whose string, when the arrow
gradually developed
is shot, produces a humming sound;
this development proceeds, via differ-
as sound-intensifier, later replaced
ent stages during which the mouth serves
the actual body of the instrument.
by a calabash, which evolves into
"

in the most
The primitive 'musical bow' (fig. 39), which is still found
unlikely corners of
the world, and which has been the subject of a con-
of HENRY BALFOUR (90) and
siderable literature, particularly the writings
TOBIAS NORLINB (1372), also survives in the mythology of many peoples:
at the same time the god of music; Shiwa, too,
Apollo is an archer and
is both archer and Lord of the musical bow;
the Japanese godhead Ameno
Kamato constructs a instrument from a number of hunter's bows
string
\
(ci the African lu(n)komba) (fig. 38)
The musical bow with resonator is the common ancestor of all higher
and lutes. Their manner of playing
developed forms such as harps, lyres
varies greatly; some are beaten with a small stick, others are plucked.
method. There
Stroking the strings ('bowing') is the youngest playing
are some indications, that the use of the bow was first practized in Central
2
Asia (Mongolia) and, if that is true, a long period must have elapsed before
the use of the bow reached West Europe.
Thus far our bird's eye view of the development of musical instruments.
* *

Before proceeding now to give an exposition of the system of classi-

fication designed by SACHS in collaboration with his colleague VON HORN-
BOSTEL, following the Belgian musicologist VICTOR MAHILLON, which
system constitutes a most succesful attempt to arrange in logical order all
those both formerly and at present existing instrumental forms, I
will first give the reader a brief general survey of the subjectmatter.
One of the features of civilization in its later phases of development is

a certain inclination to classify the available material and to construe

1
Vide also J. MAES, Les Lnkombe on instruments d& musique d cordes des populations du Kanai
Lac Uopold Luk&me
(1248),
See, however, our figure 37, on which apparently a bow is used. It is regrettable that no one
a

knows in which period this prehistoric painting was made. It was found by G. W. STOW in the
Maluti Mountains of Basutoland and copied in situ. Cf. PERCIVAL R. KIRBY, The Musical Instil-
ments of the Native Races of South Africa (995, p. 193 ff, and front picture). Perhaps it is very old;
perhaps made by Bushmen only recently.

54
some kind of system on the basis of this classification. As far as I am aware
this has been done, in respect of musical instruments, three times: i.e. in

China, in India and in modern Europe.

The Chinese classification is based on the material from which the instru-
ments are chiefly fabricated. This classification includes eight groups:

kin (metal), che (stone), t'u (earthenware), ko (skin), hien (strings), p'o
chu (bamboo), and mu (wood) (1703, p. 25; 314, p. 80). But
(calabash),
however attractive, owing to its simplicity, this classification has never been
adopted by Western scientists, because, after all, several instruments are
made from a variety of materials, from the combination of which the
instrument in question acquires its suitability to produce sound.
On the contrary, the old Indian classification in four groups: ghana
(cymbals, gongs etc.),
avanaddha (drums, tamburines etc.), tata (string
instruments) and fushira (wind instruments), which is already to be found
in the Natya-gctstra, that large encyclopedic work, attributed to the

great BHARATA and dating

from before our era, strongly appeals to
the Western mind. When, only in 1880, Europe at last arrives at an

classification of its own, fulfilling all reasonable demands, it appears to

base itself on exactly the same principles as this ancient Indian one.
Until that year, a hopeless confusion generally prevailed in this respect,
also in professional circles. In that same year there appeared the extensive

Catalogue descriptif et du Musde instrumental du Conservatoire

analytique
de Bruxelles, from the pen of the then Conservator of that museum, the
musician and instrument-maker VICTOR MAHILLON (1841 1924). In this
work, a logical system of classification, comprising all instruments housed
in the Brussels museum, was for the first time put into practice (1250).
However, owing to the relatively small number of exotic instruments

present in the said* museum, the system, in the state it was published
at the time, was still far too much concerned with European musical instru-
ments alone, with the result that, on the one hand, certain features were
given a relatively too important place in the subdivisions (e.g.,
whether
or not they had a keyboard), while, on the other hand, distinct groups
had been formed which, seen from a more general point of view, were not
logically coordinated for example, the division of aerophones into
(as,

(a) reed-, (b) mouth-hole-, (c) polyphonous

instruments with air-reservoir,
and funnel-mouthpiece-instruments). It further appeared, when more
(d)
exotic instruments gradually became known, that several of them could
find no place in this system.
With these facts in mind, VON HORNBOSTEL and SACHS
proceeded,
while preserving the main lines of the system, to extend it in such a way
as to ensure that it would cover all instrumental forms known to them
at the time, as well as any others which, although not yet discovered,

55
 extant. VON HORNBOSTEL and SACHS, indeed,
might quite possibly be
succeeded in bringing the task they
had set themselves to a most felicitous
conclusion, making use of the
decimal system of DEWEY (851).
of classification at
But although we had, at last, an excellent system
before was generally used
there was still a long way to go
it
our disposal,
in literature and in the existing museum catalogues. We still find, in many
and subdivisions, in which,
museums, completely unacceptable headings
and the mouth-harp
for instance, the mouth-organ (a wind-instrument)
with vibrating lamella) are united
*
or j ew s (_ j aw s ) harp (an instrument
which the most dissimilar forms, such
in one and the same group, or in
as drums and gongs, are classed together
under the heading 'percussion-
instruments*.
It is further usual to form, in addition
to the group of Percussion-instru-
ments, another two groups, viz. String-instruments and Wind-instruments.
of instruments, and these are
However, remaining are various other types
usually put collectively
in a questionable fourth category 'Miscellaneous' !

In the subdivisions there prevailed an even worse anarchy. largeA

number of conservators and ethnologists did not even know the difference

between clarinets, oboes and flutes, while an oboe, if it happened to possess

a 'bell* (soundfunnel) made of tin or other metal, was often listed as a
'trumpet'.
In connexion with this itbe remarked, that the indication of the
may
native names is frequently anything but helpful, since the same names are
used for different instruments in different places, and sometimes even in
one and the same region. Thus, in a large part of Central Africa, the name
marimba is given to a xylophone, while in the Congo-basin it is also frequently
used to designate quite a different lamella-instrument, usually called
sanza. The chelempung is, in West Java, a bamboo idiochord with either
one or two strings; in Central Java it is a form of heterochord zither with
13 double strings. But in Siak (Central Sumatra) it is a metallophone
consisting of a range of either 5 or 10 small horizontally placed gongs!
In Sfani, the name Klu'i is given to wind instruments of the most divergent
character, etc. etc.
But where musicologists were completely at a loss was in the case of the
Aeolian harp a stringed instrument played by the wind and in that
of the piano and the cembalo, which, although stringed instruments, are
beaten by means of small hammers, and therefore perhaps ought to be filed
with the percussion group.
A further point to be noted the customary subdivision of orchestral
is

wind instruments into the 'brass' and the 'wood-wind' groups, a most
peculiar and, surely, equally unsatisfactory classification, since several
instruments of the 'brass* group particularly the more ancient ones

-56-
used to be made of wood (in some cases ivory), e.g. the 'Zinken' (a primitive
the 'Serpents' and the Bass-horns, whereas, on the other
type of cornet),
hand, many of the 'wood-wind' group are often
or always made of
metal (flutes, saxophones, sarrusophones, etc.).
Not only in the museum catalogues, but also in the musicological liter-
ature, we find, even to this day, years after the creation of such a logical

system of classification, the queerest subdivisions. As one of the most

appalling examples
we
may mention STEPHEN CHAUVET'S beautifully
edited book La Musique Negre (271), in which this author follows a twofold
namely (a) les instruments de rhythme' (according to him,
classification,
these are the drums, the horns ('trompes'), signalling whistles ('sifflets')
and rattles ('hochets')), and (b) les instruments de musique proprement
dits* (i.e. genuinely musical instruments). It would be hard to think of a

more unsatisfactory classification.

However, the majority of musicologists today adhere to the system
proposed by MAHILLON, SACHS and VON HORNBOSTEL. A few, who, for
some reason or other, do not or only partly agree with this, apply a classifi-
own, for example GEORGES MONTANDON in his Genealogie des
cation of their
instruments de musique et les cycles de civilisation (1322), and ANDR
SCHAEFFNER (1597 1611) the leader of the musicological department of
the Musee de THomme at Paris, in his treatises D'une nouvelle classification
methodique des instruments de musique (1598) ; Note sur la filiation des instru-
ments a cordes (1599) and in his book Origine des instruments de musique
(1602), TOBIAS NORLIND, in his excellent Systematik der Saiteninstrumente

(1372, 1373), has practically adopted in its entirety the classification of

SACHS and VON HORNBOSTEL (without the decimal system), except for the
a under
fact, that he unites the idiophone and the membranophone groups
the heading autophones (1374) an d has carried the subdivisions much
further. The above-mentioned, antiquated division into three classes still

followed at as late a date as 1904 by HENRY BALFOUR in his Musical

instruments from the Malay Peninsula (94) and again, in 1929, in his Music
(97) is deficient not only in that it fails to comprise all instrumental

forms, but in addition is lacking in homogeneity: on the one hand it places

the method of playing as the criterion in regard to the percussion- and
(i.e.

wind-instruments), and on the other the material which primarily is made

to sound (i.e. as regards the group of stringed instruments),
MAHIIXON'S classification, on the contrary, puts forward only one single
criterion for the division into the main groups, namely, the material which
is made to sound in the first instance. This author distinguishes four main
classes of instruments, i.e. :

1
These terms will be discussed in the next alinea.

57
 (a) Autophones, whose material produces the sound, without
itself
in any way whatever;
being previously stretched

(b) Membranophones, made to sound by means of a skin or membrane

stretched over the instrument ;

(c) Chordophones, made to sound by means of stretched strings ;

in which it is not the material from which they are

(d) Aerophones,
made, but, in the first instance, the air in

most cases the column of air inside the instru-

ment that is made to sound.

This main classification has been taken over by SACHS
and VON
HORNBOSTEL. The only alteration they made in the above nomenclature
term in view of the fact that
was to the
replace autophone by idiophone,
we are accustomed, in our technical terminology, to associate the prefix
auto with the concept of movement under a mechanism's 'own* power,
automatic action.
i.e.

Each of the above four main groups has naturally been subdivided.
In this subdivision, however, there is not the same unity of criterion as
seen in the main groups. The idiophones are classed and arranged ac-
in the first instance,
cording to the playing method; the membranophones,
also according to the playing method, but further according to shape;
the chordophones are first split into two groups, i.e, that of the simple,
and that of the composite instruments, and they are further classified ac-

cording to shape; in the case of the aerophones

we first find a division into
'free* aerophones and wind instruments proper, after which the latter

group is again subdivided according to the manner they are blown into.
In this subdivision, therefore, homogeneity of criterion is again conspicuous
by its absence. VON HORNBOSTEL and SACHS, of course, intended this to
be so; indeed, they say, in their Introduction: 'Da wir absichtlich die

verschiedenen Gruppen nicht nach einem einheitlichen Prinzip unterge-

stellt, sondern den Einteilungsgrund allemal der Eigenart der Gruppe

angepasst haben, so sind Gruppen von gleicher Rangordnung im System

durchaus nicht immer koordiniert'. (i.e. Since we purposely refrained from
subjecting the various groups to some homogeneous principle, and, on the
contrary, adapted the basis of our subdivisions in each case to the typical
character of the group in question, certain sub-groups of the same order of
precedence are not always coordinated in our system) (851, p. 558) .

None the less, MONTANDON rather frowned upon this inequality of

criterion in the subdivisions, and, accordingly, in his own system sub-
divided all groups according to one, the playing method.
ANDRE SCHAEFFNER finds that he cannot agree in every respect with
eitherMAHILLON VON HORNBOSTEL SACHS' or MONTANDON'S dassifi- '

-58-
cation. As regards the
former, he considers the group of the idiophones
not homogeneous enough. Taking MONTANDON'S definition as his starting
which says that the idiophones include. . 'tout corps, dont la
.
point
vibration est le fait de leur carcasse
non de membrane, de corde ou
et
de 1'air' (1322, p. 47) (i.e. each instrument, in which the
primairement
vibration is caused by the body, and not by a membrane, a string or,
the air) SCHAEFFNER points out that, in that case, instruments
primarily,
such as the African sanza have, in effect,
been mistakenly classified with the
idiophones. For here, the
it is
plucked metal or wooden tongues and not
the body a flat piece of wood or a sound-box that constitute the
sounding material. (These instruments with 'hard' tongues also
primarily
led Professor A. E. CHERBULIEZ, the Zurich musicologist, to distinguish,
in addition to the four main groups, as classified by MAHILLON SACHS
VON HORNBOSTEL, a fifth, which he calls the Hnguaphone group. With this
group CHERBULIEZ classes,
for instance, besides the sanza, the mouth-harps,

and the imitation-drum of the Javanese kowangan (1099, P- 20 j and fig.

9*))-
According to SCHAEFFNER the same applies be it in a lesser degree
to many East-Asiatic and African xylophones and their family. Here
also, it is not the body (a wooden box, a wooden frame with bamboo tubes,

c.q.with calabash-gourds) that sounds in the first instance although it

does function secondarily but another part of the instrument, viz. the
keys.
As regards MONTANDON'S system, SCHAEFFNER'S special grievance is
criterion of the playing method all along the line.
against the use of the
For, he says, if we do that, then we must class a plucked lute with a different
group from that of a bowed lute, despite of the fact that the two are con-
structed exactly alike; one and the same instrument may quite well have
a plucked one, and developed only centuries later into
started its career as
one played with a bow, for example the ancient Keltic crwth (Latin: chrotta}.
And what is one to do about the guitar, which, as occasion may demand,
is made to sound in glissandi, by beating the sound-box, or plucking the

strings? And what about the which, though mostly played with a
violin,

bow, is also plucked from time to time? And where are we to go with the
bamboo idiochords, some of which are plucked, whereas others are beaten
with a stick?
to
Taking all this into consideration, SCHAEFFNER finally preferred
design a classification system of his own. This two-part system
distinguishes :

(a) instruments whose primarily vibrating material is a solid ;

(b) instruments whose primarily vibrating material is a gas, namely,

the air.

59
 The first group, in its turn, is split into two, viz. (i) the sub-group charac-
... vibration d'un corps solide, non susceptible
' de tension, et
terized by
a intonations invaxiables ou indeterminables', and (2) the sub-group charac-
a intonation variable'.
terized by, ... vibration d'un corps solide tendu,
In he made this subdivision threefold: from the first sub-group
1936
solides flexibles',
he detached as an independent one a sub-group 'corps
he, for instance, classified the sanzas
and the jaw's harps
among which,
(1602, p. 371 ff).

There is certainly much to be said for this classification of SCHAEFFNER'S;

it cannot be denied that Nevertheless, in my opinion his ob-
it is logical.

jections to
MAHIIXON'S system do not hold water; there is not the slightest
of MONTANDON as a standard;
reason, for instance, to take that definition
after all, it is
a sanza,
neither the sound-box of a xylophone, nor that of
in short, not the body but the
of those instruments, keys themselves which
able to a tone without
comply with the criterion of being produce having
been previously stretched, as a string or a membrane is. And though the
the main groups is desirable, it is,
having of a homogeneous criterion for
in my a matter of complete indifference whether one waives this
opinion,
in the case of the sub-
desire, purely from considerations of expediency,
divisions, providing always that they are consistent within the range of
each sub-group, that is: neither overlap nor leave part of the field
uncovered.
In 1948 a new, very detailed, classification system was proposed by
HANS HEINZ DRAGER in his brochure Prinzip einer Systematik der Musik-
instrument (433). It is constructed on the foundations laid by MAHILLON,
SACHS andVoNHoRNBOSTEL,but attempts to achieve a greater homogeneity
in the criteria. The utility of this have to be proved in practice,
system will

but, personally, I think it too detailed to be easily handled. The already

existing systems are quite serviceable, and this new one will probably have
difficulty in getting a foothold.
In my work, in common with WALTER KAUDERN in his Musical Instru-
ments in Celebes (974), K. G. IZIKOWITZ in his Musical and other Sound-
instrwnents of the South American Indians (944) CLAUDIE MARCEL-DUBOIS
,

in her Instruments de Musique de VInde ancienne (1257), and HANS HICK-

MANN in his large Catalogue (766), I have thought best to adhere to MA-
HTLLON'S system, as perfected by VON HORNBOSTEL and SACHS; my own
experience being that only in extremely rare cases does it let the investi-
gator down. Only, when dealing with modern European organology, one
has to add a supplementary group, namely that of the electrophones, of
which, during the last decades, many different types have been created
(for instance, the Trautonium, MARXENOT'S Ondes sonores e.t.q.).

60
 It was CURT SACHS whofirst made an
attempt to order and classify
the infinite variety of sound-instruments from the cultural-historical
angle. In his book Geist und Warden der Musikinstrumente (1537), a masterly,
authoritative and comprehensive work, he has succeeded in laying down
the main lines of investigation, thus creating a firm basis for subsequent
workers to build upon with confidence. In a later work, The History of
Musical Instruments (1546), SACHS once again ordered and arranged the
entire organological material, starting from a somewhat different stand-

point,
but with every sign of still deeper and more mature insight.
In the first-named work, the Berlin musicologist enumerates four ways
along which we may come to a classification as intended by him, namely:
(a)
the purely musicological way, in which the guiding principle is the
greater or lesser development of an instrument. Here, however, we are
faced with unsurmountable difficulties: where are we to look for the evi-
dence of this higher development? In the volume of tone? In the reduction
of the size of the intervals? In the greater purity and refinement of the
tone-quality? In the increasing possibilities to produce rhythmic or dynamic
variety ? And again, is it possible to test the degree in which each of these
elements present in each particular case by trying an instrument found
is

in a museum, and without the cooperation of a player who is familiar with

itsmanipulation?
the 'ergologicaT method, in which account is taken of the qualities
(b)

showing the degree of craftsmanship needed to fabricate it;

(c)
the classification according to the 'Kulturkreise' (i.e. cultural regions)
where the instrument is found, as FROBENIUS, GRAEBNER, FOY, ANKER-
MANN and Father WILHELM SCHMIDT have endeavoured to distinguish;
(d) the theory that
the further an instrument is found from its centre
of origin, the older it is. One could call it the geographical method. This
method can be applied only by the ethno-musicologist who, in the con-

troversy 'Entlehnung oder Volkergedanke' (Le. assimilation or pluri-

genesis) has voted for And, as SACHS rightly remarks, the

'assimilation'.

evidence of migration, and adoption by other peoples, of different instru-

mental forms is so overwhelmingly convincing, that musicologists can
1

hardly be expected to be other than adherents of the 'Entlehnung theory.

One of the primary reasons for rejecting the idea of plurigenesis (Le, the
independent appearance of the same instrument in different regions) is the
presence, in so many cases, of perfectly identical, non^ssential features of
the instruments in question.
the ground, therefore, of geographic diffusion, but also and unmis-
On
1
cultural
takebly guided here and there by the 'Kulturkreislehre (i.e.
as well as taking
regions-doctrine) of the Viennese ethnological school,
into account, where necessary, the structure and craftsmanships shown

61
 instruments, SACHS aided by his phenomenal knowledge
by the various
of facts, both in the field of the actual organology and that of comparative
his career as a man of letters and as historian of art)
linguistics (he began
was able to
put some order into the instrumental chaos.
main parts, namely,
his subject-matter into three
The author divides
the Stone Age, the Metal Age and the
Middle Ages, The first period is
into no less than 12, the metal age into 7,
and the middle
again subdivided
ages into 4 periods.
What strikesone in this is that, generally speaking, the most ancient
strata, comprise a wider field
than the later ones resembling what
into water: the first circles i.e. the
happens when a stone is thrown,
outer ones My late colleague J. S. BRANDTS
cover the greatest area.
BUYS (202219), who made a most meritorious study of the music of

Central Java and Madura, spoke of this phenomenon

and the conclusions
which were drawn from it, as the 'witches ring theory'.
that this wealth
There are many things which point to the probability
of instrumental forms for the greater part owes its existence to two very
ancient cultural centres, namely, the Egyptian-Mesopotamian centre and
the anaent-CMnese. Also there are a few indications which suggest that,
behind these two dvilizations, there must have been a still more ancient
one from which they both originated, and which must probably be located
somewhere in Central Asia.
* *

In this booklet ethno-musicologists of great merit have not yet

many
been mentioned, because it so happened that they did not fit into the
scheme followed in its composition. For instance the Finnish musicologists
OTTO ANDERSSON (3239) and A. O. VAISANEN (i8o8a 1819) ; the French
investigators Father AMIOT (1779)!) (26), ALEXIS
CHOTTIN (277291),
RODOLPHE D'ERLANGER (482, 483), JOANNY GROSSET (665), RAOUL and
MARGKERITE D'HARCOURT (139, 687 690), Mrs. HUMBERT-SAUVAGEOT
(918, 919, 1787), VICTOR LORET (12331235), Louis LALOY (11901194),
A. MACHABEY (1236 1241), NOEL Pirn (1402), a.o.; the Mongol princess
NIRGIDMA PE TORHOUT (1787); the Turkish musicologists ADNAN AHMED
SAYGUN (19501953) and RAOUF YEKTA (1918); the Angelsaxon scholars
PHYLLIS ACKERMAK (5), EDWARB BURROWS (245 249), CHARLES RUSSEIX
DAY (351 353), HENRY GEORGE FARMER (494 53 ik), EMANUEL Wm-
TERNITZ (1889), DAVID P. McALLESTER (1283 1284!)), COLIN McPHBE
(1285 1295), ALAN P. MERRIAM (1305 1309), A. C. MOULE (1328,
1329), FRANCIS PIGGOTT (1408), LAWRENCE PICKEN (1406, 1407), and
many others the Dutchman J. A. VAN AALST (i); the African experts
;

K. P. WACESMANN (1839 1843) and HERBERT PEPPER (1397 1401); the

62
Indian scholars ANANDA COOMARASWAMY (310313),
c. S. AIYAR (1219),
SRI PADA BANDIPADHYAYA (100, 101), V. RAGHAVAN (14231425), V. K
RAMACHANDRAN (14271432), Pandit RATANJANKAR (14381442), P.
SAMBAMURTHY (1561 1572) e.tq.; the Japanese SHIGEO KISHIBE (1008
xoio), GENJIRO MASU (1274, 1275), TARO OTA (1387), K. SUNAGA (1753),
HIDEO TANABE (1767, 1768), KIYOSI TAKONO (1765, 1766), S. TANAKA
the Chinese EN SHAO WANG (1852) and KUANG Cm WANG
(1770) a.o.;
(18531856); the Siamese H. E. NAI V. VICHITR-VADAKARN (1836); the
Burmese U KHIN ZAW (1922, 1923); the Australian experts HAROLD
E. DAVIES (348) and A. P. ELKIN (448) the Maori specialist JOEL C. AN-
;

DERSSEN (28 31) the Belgian OLGA BOONE (161, 162) the Korean scholar
; ;

CHING SIK KEH (976); the Cuban investigators FERNANDO ORTIZ (1384)
and EDUARDO SANCHEZ DE FUENTES (15731576) ; the Uruguayan LAURO

AYESTARAN (62, 63) ;

the Mexicans CARLOS CHAVEZ (272) and GABRIEL
SALDIVAR (1558); the Brazilians Luiz HEITOR CORREA DE AZEVEDO (64),
Mrs. ONEYDA ALVARENGA (25) and RENATO ALMEIDA (24) ; the Indian
expert A. A. BAKE (67-89, 56sa, 1934), and many others who, I hope, will not
resent my omissions.
A
variety of subjects, too, some of them most important, have been
hardly, if at aU, touched upon in the above. Thus, for example, the different
tonal systems and scale systems in practical use in the world \ the various
melodic formulae and tonal patterns so characteristic of many non-Euro-
pean musical cultures (as in the ancient Greek nomoi, the Japanese No-
music, the raga's of India Proper, the Hebrew mgtin, the Javanese pafet,
and the Persian-Arab maqamat) ; the forms of multi-part music 2 problems ;

of rhythm 3 the cultural-historical currents in so far as they found expres-

;

sion in music 4 problems of style 5 and form 6 the various exotic musical
; ;

8 9
scripts
7
,; music and magic ; music in its relation to work , music and
1
For the demonstration of the structure of exotic scales there has been developed at the Royal
Tropical Institute, Amsterdam, a polychord, provided with 12 graduated scales, moveable bridges
and tuning pegs, which can duplicate any kind of scale of known vibration numbers (fig. 47). It is
available for any serious musicologist at a moderate price (address: Royal Tropical Institute,
Department of Anthropology, Linnaeusstraat 2 A, Amsterdam Cost).
z
See, for instance, 43, 165, 248, 803, 837, 901, 966, 984, 985, noi, 1176, 14070, 1466, 1467,
I S35t 1630, i63oa, 1631, 1636, 1652 and 1791.
3
In regard to rhythm, West-European musicians and musicologists are inclined to forget that
the greater part of the white race is decidedly inferior to many non-European peoples, especially
the African negro-peoples. Ample evidence of this may be found in 958, Part II; 966, and 608.
For intricate (East-) European rhythmic structures, I may refer the reader, for instance, to:
49, 198, 200, 320, 428, 1042, 1366, 1825, and 1826. For problems of rhythm in general, see: 27, 375,
613, 905, noi, 1338, 1339, 1555, 1556, 1762, and 1881.
4
See p. 45/46 note 4, and, for instance, 1008 and 1010.
See, for instance, 180, 326, 332, 725, 736, 882, 894, 915, 1149, 1356, 1357, 1631, 1638, and 1640.
5

6
See, for instance, 737, 1034!), and 1482.
See, for instance, for Babylonia: 1530, 1532, 1551 ; for Sumeria: 590, Chapter IV; for Hellas:
7

1529 and 1531 ; for Arabia: 1196 and 1199 ; for India: 275, 337 II, 1510, 1685, and 1686 ; for
Tibet:
1702; for Java: 2O4a, 219, 1099, p. 346 ff.; for Bali: 1062, par. 5 (p. 47 ff.); for Japan: 695; for
Okinawa: for China: 671, p. 4 5, 857, 1021, 1214, 1802, and 1854; for Persia: 1196, For a
1507;
general survey see 19723.

_63 -
 music as a sociological factor
psychology of nrnsic*,
,

philosophy*,
classification of melodies
Lsic and religion*, music and medicine*, ,

7
music and mission , etc., etc.
have been dealt with in other publi-
Certain of these subjects, however,
or are about to appear.
cations that either have already appeared
of the objects, technical
For a more general and systematic exposition
of ethno-musicology I may refer the reader to
means and subject-matter
ihre Methoden und
ROBERT LACH, Die vergleichende Musikwissenschaft,
Musik des Orients (1179); CURT
Problems (1155); ROBERT LACHMANN,
BiiA BARTOK, Pourqwi
SACHS VergMchende Musikwissenschaft (1538);
(129) FRANK HOWES, Man,
d comment receuiUe-t-on musique
la populate? ;

WILL G. GILBERT, Bwiten-Europese muziek (624);

Mind and Music (907);
A A. BAKE and MAUD KARPELES, Manual for Folksong Collectors (81),
216 ff .), and FRITZ BOSE,
GLEN HAYDON, Production to Musicology (699, P-
MusiMische Vdlkerkunde (187).
As SACHS gives a generously ample survey of the develop-
said above,
of music and musical instruments in the
course of the past millennia,
ment
cited in the foregoing pages:
in the two brilliant monographs, repeatedly
Gdst nnd Werden der Musikinstmmente (iS37) and T}le History of Musical
book no less recommendable The
Instruments (1546) and also in his
Mmic in the Ancient World, East and West (i549)> while for the
Rise of
der Musikinstru-
nomenclature of musical instruments his Reallexikon
^^ ( ISI3 )
_
published as early as 1913,
but not by any means out of
(jate may be consulted with much benefit.
Most of the publications mentioned in these pages deal with problems
and subjects of a general nature. But also for the study of the music of
certain particular parts of the world, a large number of monographs
are

available to those interested. Most of them the reader will find listed

In Index II, on p. 142, there are

alphabetically in the following Bibliography.
inserted the names of the countries, regions and tribes the music of which
has

been studied. The numbers in braquets placed after those names refer to the
in the said bibliography;
corresponding numbers of the publications found
the numbers in italics to the pages on which they are mentioned.

8
See, for instance, 131, p. 53 ft, 236, 23 8 3<>5> 373 537 9$9>
IIl8 I12O II2I 12o6 P" 65 > I409 *
1482, p. 37, 1498, p. 2800, 1509, 1514, p. 21 ft, 1702, 1909, 1915 e.t.q.
8
See the famous book by CARL BOCHER, Arbeit und Kkythmus (234), and, for instance, A. VARAG-
HAC (l82l).
1
See: 228, 907, 1194, i5<Mi l8ol l8 45 * 8 77i **& ^5-
8 * 8 33*
See: 22, 266, 682, 869, 870, 907,1043, 1044, 1126, 1335, 1456, 1663, 1664, 1668, 1732* 173$,
and 19653.
*
See: 145, 157, 907, and 1106, and many others, ior instance: 1029, 1150, 1850, 1851.
*
See, for instance: 447a, 477, 575, 669^735, 747, and 1053.
*
See, for instance: 48, 373, 381, 388, 1120, 1121, 1241, and 1664.
8
The classification of European folk songs owes much to ILMARI KROHN (1046) ; see also 1819.
7
See: 1092 and 150$.

_64
 BIBLIOGRAPHY
This bibliography contains two categories of books and articles:
a) works
concerned exclusively with music and musical instruments of
non-European peoples;
fy
some important publications on ancient and early European music
and folk music.
Publications of a more general character (e.g. reports of travels, eth-
nological expeditions, and missionary activities) which often contain
interesting data on music and musical instruments, musicians and the role
of music in tribal life, are not included. These can be located
by referring
to the extensive bibliographies found in works marked by an asterisk. Nor
are inserted publications in the Russian, Arabic, Chinese, Japanese, Indo-
nesian, Javanese and Sundanese languages, and in the languages of the
Indian subcontinent.
1. AALST, J. A. VAN, Chinese music (1884, raiben (Kon. Akad. v. Wetenschappen,
2/1933)- Amsterdam, 1931), passim.
2. ABAS, S. P., De muziek
der Bataks AIYAR, C. SUBRAHMANIA, Quartertones
Mei 1931.
('CaeciHa-Muziekcollege'), in South Indian (Carnatic) Music ("The
ABERT, HERMANN, Die Lehre vom Ethos
3.

4.
-
in der griechischen Musik (Leipzig,
Antike (neu-bearbeitet von
SACHS) (in GUIBO ABLER, 'Handbuch.
1 899) .
CURT 13.
Journal of the Musical Academy,
Madras' XI, p. 95 ff.), 1940.
Comparative music, European and
Indian (ibid. XII, p. 36 if.), 1941.
der Musikgeschichte' I, p. 35 if.}, 2/1929. !4, Some leading music systems (ibid.
5. ACKERMAN, PHYLLIS, The character of XIII, p. 21 fl, XVII, p. 97 ff.), 1942 and
Persian music (in POPE and ACKERMAN, 1946-
'A Survey of Persian Art. From pre- 15. Xhe Clarinet and classical Carnatic
historic times to the present*, vol. Ill, Music (ibid. XIX, p. 51 ff.), 1948.
p. 2805 fl), Oxford, 1939. 1 6. A Study of the Microtonal Variations
6. ABLER, BRUNO, Pfeifende Pfeile und in Frequencies in Karnatic Music with
Pfeilspitzen in Sibirien ('Globus' an Oscillograph (ibid. XX, p. 114 ff.),
LXXXI), 1902. 1949.
7. ABLER, GUIDO, Ueber Heterophonie I7 . Musical research and frequency
('Jahrbuch der Musikbibl. Peters' XV, ratios (ibid. XXI, p. 64 ff .), 1950.
p. 17 ff.), 1909- 1 8. Physics and Aesthetics of Hindu-
8. ABOLF, HELEN, The ass and the harp sthani Music (ibid. XXII, p. 86 ff.),
('Speculum' XXV, p. 49 ff.), 1950. 1951.
8a. African Music, Gramophone Records of, ig. Xhe Grammar of South Indian
('African Music Transcription Library*), (Karnatic) Music (Madras, 2/1951),
Catalogue July 1951 (Johannesburg, 20. AIYAR, M. S. RAMASWAMI, Thiagarafat
a great Musician Saint (Madras, 1927).
9. AGNEW, R. GORBEN, The Music of the *2i .
Bibliography of Indian music ('Jour-
Ch'uan Miao ('Journal of the "West nal of the R. Asiatic Soc.'), 1941.
China Border Research Soc/ XI, p. 9 22. ALBERSHEIM, G., Zur Psychologic der
ff-). I 939- Ton- und Klangeigenschaften (1939).
10. AGRAWALA, V. S., Some early references 23. ALBINI, EUGENIO, Instrumenti musicali
musical ragas and instruments ('The
to degli Etruschi e loro origini ('L/Illus-
Journal of the Music Academy, Madras' trazione Vaticana* VTII, p. 667 ff.), 1937.
XXIII, p. 113 ff.), 1952. 24. ALMEIBA, RENATO, Historia da Musica
n. AHLBRINCK, W., Encyclopaedia der Ka- Brasileira (Rio de Janeiro, 2/1942).

-65-
 ARAVAMUTHAN,T. G., Pianos in Stones
25- ALVARENGA, ONE YD A, Musica popular 44.
Music Academy,
brasileira (Porte Aiegre, 1950). ('The Journal of the
Madras' XIV, p. 109 ff.), 1943-
26. AMIOT, FATHER, Memoire sur la musique
45 ARBATSKY, YURY,
.
Albanien ('Die Musik
des Chinois (Paris, 1779)-
in Geschichte und Gegenwart' I, col.
ANBERSEN, A. O., Geography and Rhythm
27.
of Arizona Fine Arts Bull/ No.
('Univ.
46
-
282 ff.), 1951-
Balticum (ibid. I, col. 1187 ff.),

-
.

2), Tucson, Arizona, 1935.

Aztek music
27^. AKDERSQN, ARTHUR J. O.,
1951.
Review VTII,
1
Communication on the chromatic
('The Western Humanities
f

Balkan-scale ('Journal of the Amer.

_
p. 131 ff.), 1954-

('Transactions of the
^ Moon. Music
28. ANDERSSEN, JOHANKES C.,

lust/ LIV, p. 743

New Zealand
&, LV
^
> P- 68 9 #-)>
.

.
-
Musicol. Soc/ V, p. 150 1952.
ff.),
The Roga, a Balkan bagpipe, and
its medico-magical conjurations (Paper
read at the Annual Meeting of the Amer.
1923-24.
M^^m musical instruments ( Art in Musicol. Soc., in Chapel Hill, N.C.), Dec.
2 g.

3<x
New Zealand' II. p. 91 #-), 1929.
.4 n Introduction to Maori Music

('Transactions of the New

Zealand Inst/)
49 .
-
1953 (stencilled).
Beating the
Balkans
Tupan in the Central
(Newberry Library, Chicago,

3I .
1926.
Maori Music with its
Polynesian
background (New Plymouth, New Zea-
.
-
1953)-
Stichproben aus den Volksmusik-
kulturen sudost-europas (will be publish-

32.
land, 1934)-
AKDERSSON, OTTO, Strdkharpan ('Fore-
ningen for Svensk Kulturhistoria' IV, p.
51 .
-
ed shortly).
A Triptych from the Arbatsky Col-
lection at the Newberry Library (Chicago,

115 Stockholm, 1923.

if.),
1954), ed. by WALTER G. NAU.
33 . The Bowed Harp (transl. by KATH- 52 Archives of recorded music. Collection of
.

LEEN SCHLESINGER), London, 1930. the Phonoteque National, Paris (1952)

3 4_ Musik och Musikinstrument ('Nor- 53 ARETZ-THIELE, ISABEL, El folklore musi-

.

disk Knltnr' XXV), Stockholm/Oslo/ cal argentine (Buenos Aires, 1952).

Kopenhagen, 1933. 54 ARIMA, D., Japanische Musikgeschichte

.

35 . Nordisk musikkultur i aldsta tiler auf Grund der Quellenkunde (diss. Vienna,
('Nordisk Kultur. Musikk och Musikk- 1933)-
instramenter', p. 3 ff.) Stockholm/Oslo/ 55 . ARRO, E., Zum Problem der Kannel
Kopenhagen, 1934- ('Proc. Gelehrbe Estnische Ges/, Tartu,
3 6. Nordisk folksmusik i Finland (ibid.,
p. 113 ff.), 1934-
Geschichte der estnischen Musik
3 y, Folkmusiken i Svenskestland (ibid., (Tartu, 1933).
p. 159 ff.), 1934. 57. ARSUNAR, FERRUH, Kisdzsiai tordk pen-
On Gaelic Folk Music from the Isle taton dallamok (Des mdlodies pentatones
3 8.
ofLewis ('Budkavlen' XXXI, p. i ff.),
des Turcs d'Asie Mineure) (in 'Melanges
Abo, 1952. offerts & ZOLTAN KODALY k T occasion de

3 g. Altnordische Streichinstrumente son 6oieme anniversaire*, p. 322 ff.),

(Kongressber. des 4. Kongress der Intern.
Musikges/ Vienna, 25-29 May, 1909).
40. AHDREE, R., Die Nasenfldte und ihre
Verbreitung ('Globus' LXXV, No. 9),
Braunschweig, 1899.
41. ANKERMAITH, B., Die afrikanische Musik-
instrumente ('Eiioiologisches Notizblatt'
II), 1902.
42. AKONYMUS (GEORGE GROVE?),
Siamese musical instruments (London,
1885).
Budapest, 1943.
58. ARVEY, VERNA, Ancient Music and
Dance in Modern Ceylon ('Etude' LX,
p. 656 ff.), 1942.
59. AUGUSTA, FR. FELIX, Zehn Araukaner-
lieder ('Anthropos' VI, p. 684 ff.), 1911.
60. AVELOT, La musique chez les Pahouins
('L'Anthropologie' XVI), 1905.
Notes on 61. AVENARY, HANOCH, Abu'l-Salt's treatise
on Music ('Musica Disciplina' VI, p. 27
ff.), Amer. Inst. of Musicology, Rome,

42^. ANONYMUS, The Music of the Swazis 1952.

('African Music Society Newsletter' I, 62. AYESTARAN, LAURO, Fuentes para el

June 1952, p. 14). estudio de la musica colonial Uruguaya

425. The Arbatsky Collection ('New-
terry library Bulletin' III, p. 170 ff.),
1954-
63 . -
(Montevideo, 1947).
L a musica indigena en
(Montevideo, 1949).
el Uruguay

43. AKTONOWYTSCH, M., Die Mehrstimmig- 64. AZEVEDO, Luiz HEITOR CORREA DE,
keit in den uftrainiscken Volksliedern Escala, ritmo e melodia na musica dos
('Kongressber. Intern. Ges. f. Musikw., indios brasileiros (diss.), Rio de Janeiro,
Utrecht 1952', p. 55ff.), 1953. I938-

66
 a> . - -Brazilian Folk Music ('Grove's
Dictionary* 5th ed., vol. Ill, p. 198 fi),
|

!
the Intern. Folk Music Council' V, p. 57
), 1953-

fo
1954.
. _
Tupynamba Melodies in Jean de
-
86. Indonesian Music ('Grove's Diction-
nary' 5th ed., vol. IV, p. 460 ft), 1954.
Indian Music ('The New Oxford
Lery's Histoire d'un voyage faict en la terre 87.
du Bresil ('Papers of the American History of Music', 3rd ed., vol. I), 1955.
Musicol. Soc/, Annual meeting 1941, p. 88. BALFOUR, HENRY, The Old British
'Pibcorn* or 'Hornpipe* and its Affinities
85 ff.).

65. BAGLIONI, S., Ein Beiirag zur Kenntnis ('Journal of the Anthrop. Inst/ XX, p.
dernaturlichen Musik (* Globus' LXXVIII, 1421890. ff.),

pp. 232, 249, 264), 1910. 89. A

primitive musical instrument
66. BAHADHURJI, K. N. Ein indisches (the whit-horn) ('Reliquary and Illustr.

Saiteninstrument, genannt Taus ('Z, f. Archaeologist', N.S. II, p. 221 ff.), 1896.
Ethnol/ XIX, p. 418 if.), 1887. 90. The Natural History of the Musical
ARNOLD A,, Bijdrage tot de kennis Bow (1899).
67. BAKE,
QL Three bambuTrumpets from Northern
der Voor-Indische muziek (Paris, 1930).
_ -
Indische rnuziek en de composities
van Rabindranath Tagore ('De Gids',
Territory, South Australia ('Man' I, Nos.
28, 33-34)> iQoi.
92. The goura, a stringed wind musical
1930).
instrument of the Bushmen and Hottentots
___ Indian Music and RdbindranatJi
('Journal of the R. Anthrop. Inst/
Tagore ('Indian Art & Letters* V), 1931.
__ Die Bedeutung Rabindranath Tago- XXXII, p. 156 ff.), 1902.
f

93. Review of C. W. MEAD, The music-

res fur die indische Musik ('Wiener Bei-
al instruments of the Incas (New York,
trage zur Kunst- und KulturgescMchte

-
Asiens' VI, p. 60 ff.), 1931.
Indian Music (London, The India
1903),
1903.
('Man' III, Nos. 112, 191-192),

72
-
Soc., 1932).
Researches in Indian Music ('In-
dian Art and Letters', New Series VII, p.
94. Musical Instruments from the Malay
Peninsula ('Fasc. Malayenses' i9Oi-'o2,
Part. II), 1904.
Musical Instruments of South Africa

^ -
10 ff.), 1933-
Different Aspects of Indian Music
('Indian Art and Letters' VIII, p. 60
95 .

('Report of the British Association,

South African Meeting, 1905'), p. 528 ff.
The Friction Drum ('Journal of the

.
- ft), 1934-
26 Chansons de Rabindranath Tagore
('Bibl. musicale
du Mus6e Guiraet*, ist
96.
R. Anthrop. Inst/ XXXVII, p. 67 ff.),
1907.
Musical Section in 'Notes and

.
- series, vol. II), Paris, 1935.
Indian Folk Music
Musical Association* LXIII, p. 65
{'Proc. of the
ff.),
97.

98.
Queries on Anthropology*, pubi. by the
R. Anthrop. Inst., p. 295 ff.), 5/1929-
BA&AS y CASTILLO RAYMUNDO, The
Music and Theater of the Philipino
Some Folkdances in South India Peopte (Manilla, 1924).
('Asiatic Review' N.S. XXXV, p. 525 99. BANDAR, MAHAWALA, Kandyan Music
ff.), 1939- ('Journal of the R. Historical Soc. of
7 8. Kirtan in Bengal ('Indian Art and Ceylon' XXI, p. 129 ff.), 1909-
Letters' N.S. XXI, p. 34 **) J 947- 100. BANDOPADHYAYA, SRI PADA, The Music
yg. Indian Folk Dances ('Journal of of India (D. B. Taraporevala Sons & Co.,
the Intern. Folk Music Council* I, p. 47 Bombay, und.).
ff.), 1949. I0 i. The Origin of Raga (a short his-
go. DQY Begriff Ndda in der indischen torical sketch of Indian Music}, Delhi,
Musik ('Kongressber. I.G.M., Bale, 1946.
1949', p. 55). 102. BARBEAU,MARIUS, VeilleesduBon Vieux
ST. with MAUD KARPELES),
(in collab. Temps (Montreal, 19*9)-
Manual for Folksong Collectors (1950). I03> Folksongs of French Canada (in
82. A Javanese musicological puzzle collab. with EDWARD SAPIR) (Yale Univ.
('Bingkisan Budi', p. 24 ff.), 1950- Press, 1925).

83. Some aspects of the development of 204. Songs of the Northwest ('The Musical
Indian Music ('Proc. R. Mus. Ass/, Quarterly' XIX), 1933-
Session LXXVI, p. 23 fi), 1950. I05 . Folk Songs of Old Quebec (Nat.
84 Die beide Tongeschlechter bei Bha-
.
Mus. of Canada, 1935)*
rata ('Kongressber. D.G.M., Liineburg IO 6. Asiatic survivals in Indian Songs

1950', p. 158 fl). ('The Musical Quarterly' XX, p. 107 ff.),

Thie Sci611"^
'

The Impact of Western Music on 1934, Monthly',

85.
the Indian Musical System ('Journal of Washington, April 1942.

-67-
 Alouette (Montreal, 1946)-
y m
Einfluss der Bauernmusik
'Archives de Folklore' I, II, III auf die Musik unserer Zeit (1921),
reprinted in 'Musik der
Zeit' III, 1953,
(Montreal, 1946, '47, '48).
Come a Singing
ARTHUR BOTTRINOT and ARTHUR
(in collab. with
Lis- -
p. 18 ff.
Auf Volkslied-Forschungsfahri in
-
.

der Turkei (193?) (ibid P- 2 3 &} -

MER) (Nat. Mas. of Canada, 1947)- Rassenreinheit in der Musik (1942)

no. The Dragon Myths and ritual songs C,

of the Intern. (ibid., p. 27 ff.).

of the Iroquoians ('Journal
Folk Music Council* III, p. 81 ff.), 195*- 131. BARZAGA, MARGARITA BLANCO, La musi-
ca di Haiti (Habana, 1953)-
III. BARKECHLI, MEHDI, La gamme persane
occidentate 132. BATRA, RAI BAHADUR R. L., Science and
rapports avec la gamme
et ses
Art of Indian Music (Lahore, 1945).
I, p. 53 ft), i95-
Olympia*
BATJD-BOVY, SAMUEL, La chanson cleph-
('

112. BARTHOLOMEW, WILMER T., Acoustics 133.

tique ('Journal of the Intern. Folk Music
of Music (New York, 1946)-
JI3 BART6K, BELA, Chansons populaires
ronmaines du departement Bihor (Akad.
Romana, 1913).
j 3 4. -
Council' I, p. 44 ft), 1949-
Sur la prosodie des chansons cleph-
tiques ('Demosieumata etaireias Make-
Die Volksmusik der Araber von donikoon spoudoon' 1953, P- 95 ff-)
114,
Biskra und Umgebung ('Z. f. Musikw.' Tessalonica, 1953.
135. BAUER, MARION, The primitive art
II, p, 489 ff.), 1920.
Der Musikdialect der Rumanen von instinct ('The Musical Quarterly' IX, p.
115-
Hunyad 352 ff.), 1920.
(ibid. II, p. 157 ff.), 1923.
Transsylmnian Hungarian Folk- 136. BEART, CHARLES, Contribution a I'etude
des langages tambourines, siffUs, musi-
songs (in collab. with Z. KODALY), 1923.
Volksmusik der Rumanen von Mara- caux ('Notes Africaines' No. 57, p. n
mures ('Sammelb. f. vergl. Musikw.' IV), ff.), Jan. 1953.
1923. 137. BEAVER, W. N., A further Note on the
U8. Das ungarische Volkslied. Versuch Use of the Wooden Trumpet in Papua
einer SysUmatisierung der ungarischen ('Man' XVI, p. 23 ff.), 1916.
Bammmelodun ('Ung. Bibl/ vols. I and 138. BECKING, GUSTAV, Der musikalische Bau
des Montenegrinischen Volksepos ('Proc.
II), 1925.
of the Intern. Congress of Phonetic
II9 . Hungarian Folktunes (New York,
1927). Sciences, 1932', p. 53 ff.), 1933,
I2o. SlovMsche Volkslieder (1928^29) .
139. BECLARD-D'HARCOURT, MARGHERITE, La
j2i. Les recherches sur le folklore musical musique indienne chez les anciens civilises

en Hongrie ('Art populaire* II, p. 127 d'Am^rique. II. Le folklore musical de la

322. - Hungarian Folk Music (London,

region andine. quateur, Perou, Bolivie
(in LAVIGNAC, 'Hist, de la Mus.' p. 3353

-
Oxford Univ. Press, 1931).
Mehdien der rwndnischen Kolinde 140.
ff.), 1920.
BEHN, FRIEDRICH, Die Musik im romi-
223.

524.
-
(Vienna, 1935)-
Die Volksmusik der Magyaren und
der 'bmachoartm Volker ('Ung. Jahr-
schen Heere ('Mainzer Zeitschrift' VTI),

-
1912.
Eine antike Syrinx aus dem Rhein-

-
14.1.
bncMein' XV, p. 194 ff.), Berlin, 1935. land ('Die Musik* XII), 1913.
125. Musique &t chanson populaires 142. Die Laute im Altertum und fruhen

12 6. -
(*Acta Musicologica* VIII, p. 97 ff.), 1936.
Fifteen Hungarian Peasant Songs
Mittelalter ( Z. 1 Musikw/ I, p. 89 ff.),

-
1918.
(

127.
-
(New York, 1939).

mnsik
Ueber die
('Melanges
alte ungarische
offertes
Bauem-
& ZOLT!N
143.

144.
Musikleben im Altertum und fruhen
Mittelalter (Stutgart, 1954).
BEICHERT, E. A., Die Wissenschaft der
KODALY a Foccaaon de son 6oieme MusikAl Farobi (diss. Berlin, 1936).
bei

128. -
anniversaire*, p. 5

('Hie Musical Quarterly'

ff.), 1943.
Gypsy music or Hungarian music?
XXXIII, p.
*I45. BELVIANE, MARCEL, Sociologie de la
Musique (Paris, 1951).
146. BELYAEV, VIKTOR, Turkomanian Music
240 Musica Quarterly' V, No. i, p. 4
I2g.
ff.), 1947.
Powrquoi et comment receuitte-t~on
la musique populates? (1948).
and ALBERT B. LORD, Serbo-
147.
-
('Pro
ft), (ibid. V, No. 2, p. 9 ft), 1927.
1927;
The Longitudinal Open Flutes of
Central Asia ('Musical Quarterly' XIX,

.
-
Croatian Folk Songs (New York, 1951).
and ZOLT^N KOD^LY, Corpus
Musicae Popularis Hungaricae I. Gyer-
148.
-
p. 84 ft), 1933.
Turkish Music ('Musical Quarterly'
XXI, p. 356 ft), 1935 (transl. from the
mekjdtekok (Budapest, 1951); II. Jeles Russian by S. W. PRING).
Napok (Budapest, 1953). 149. BERGSTRASSER, GOTTHELF, Ramadan-

68
 Kinderlieder aus Kairo ('Z. f. Semistik*
VIII, p. 149 if.), 1932.
150. BERNER, ALFRED,
Studien zur arabischen
Musik auf Grund der gegenwartigen
Theorie und Praxis in Egypten ('Schrif-
tenreihe des Stl. Inst. f deutsche Musik-
.
Heft 2), 1937.
forschung',
151. BESSARABOFF, NICHOLAS, Ancient Euro-
pean Musical Instruments (Cambridge,
Mass, Harvard Univ. Press, 1941).
152. BEST, ELSDON, Maori Songs ('New
Zealand Official Yearbook* 1918, p. 739).
153. BHATKANDE, VISHNU NARAYAN, A Com-
parative Study of some of the Leading
Music Systems of i^th f i6th, i?th and
1 8th Centuries (Madras, 2/1949).
154. BIELENSTEIN, J., Lettische Volkslieder
(Riga, 1918).
155. BIRO, L. A., Magyarische Sprach- und
Gesangsaufnahmen (1913).
156. BLAES, JACOB, Die Kinder-Singspiele auf
der Insel AH, norddst Neu-Guinea
('Anthropos' XLI-XLIV,
157. BLAUKOPF, K., Musiksoziologie (1950).
1570. BLUME, FRIEDRICH, Das Rasseproblem
in der Musik (Wolfenbuttel, 1938).
158. BOAS, FRANZ, Chinook Songs ('Journal of
turque ('Revue des Etudes
musique
Islamiques* II, p. 513 fl), 1928.
1 68. Publications musicologiqu&s turques
('Revue de Musicologie' XIV, p. 235 ff.),
1933-
169. Sur la musique secrete des tribus
turques Alevi ('Revue des Etudes Islami-
ques' VIII, p. 241 ff.), 1934.
jyo. La musique turque ('La Musique des
origines a nos jours', ed. Larousse, p. 433
ff.), 1946.
i7oa. Les poetes Kizil Bach et leur
musique ('Revue des Etudes Islamiques*
XV, p. 157 fl), 1947.
171. BOSANQUET, R. H. M., On the Hindoo
Division of the Octave, with some ad-
ditions to the Theory of Systems of Higher
Orders ('Proc. of the R. Soc. of London*
XXVI, p. 372), 1877; reprinted in S. M.
TAGORE, 'Hindu Music from various
authors* (Calcutta, 1882), p. 317 ff.
172. BOSE, FRITZ, Die Musik der Uitoto (*Z. 1
p. 119 fi.), vergl. Musikw/ II, p. i ff.), 1934.
173. Lieder der Volker. Die Musikplatten
des Instituts fur Lautforschung* Katalog
und Einfuhrung. (Berlin, 1935).
174. Musik der aussereuropaischen Volker
('Atlantisbuch der Musik'i/i937, 8/1953)

-
American Folklore' I, p. 220 ft), 1888.
Songs and Dances of the Kwakiutl
p. 789 ff.
Typen der Volksmusik in Karelien
j^g.

I5 g a<
-
('Journal of American Folklore* I), 1888.
The Central Eskimo (1884), p. 648 ff.
160. BODEN CLOSS, C., Malayan musical
^sj.

instruments ('Journal of the Royal
Asiatic Society Malayan Branch* XLV,
p. 285 ff.), 1906.
1600. BONASCORSI, A., Italian Folk
('Grove's Dictionary' 5th
p. 299 fi), 1954-
161. BOONE, OLGA, Les Xylophones du Congo
Beige (Annales du Muse"e du Congo
Beige, Ethnographic, Serie III, Notes
analyiiques sur les Collections du Muse*e
du Congo Beige, vol. Ill, fasc. 2, p. 69
176.
('Archiv f. Musikforschung* 1938, p. 96 fi)
Musik und Musikinstrumente des
Balkan ('Atlantis* 1938, fasc. n).
177. Introduction and some chapters in
ELSE ZIEHM, 'Rumanische Volksmusik*
(Berlin, 1939).
Music 178. Einfluss der Musikerziehung auf
ed., vol. Ill, Begabung und Leistung ('Der Erzieher*
No. 37, 1940, P- 3 **)
ijg. Musikpolitische Aufgaben in Afrika
('Koloniale Rundschau* 1941).
i go. Klangstile als Rassenmerkmale (*Z.
f. Rassenkunde* XIV, p. 78 ff. and p. 208

162. -
ff.), Tervueren, 1936.
Les Tambours du Congo Beige et du
Ruanda-Urundi (ibid., N.S. Sciences de
181.
fi), i943/'44-
Rassentheorie und Rassenforschung
in der vergleichenden Musikwissenschaft
('Musikblatter* No. 16, 1948, p. 5 ff.)
I'Homme. Ethnographic, vol. I), Ter- 182. Vergleichende Musikwissenschaft
vueren, 1951. heute ('Musica* III, p. 255 fi), 1949.
163. BORMIDA, MARCELO, Pampidos y Austra- 183. JDas Verstehen exotischer Musik
Coherencias ergologicas y miticas
loides" ('Melos* XVII,
244 ff.), 1950.
p.
('
Archives Ethnos' I, fasc. 2, p. 51 ff.), 3:84. Das Sprache-Musik-Problem
Buenos Aires, Sept. 1952. ('Musica' V, p. 82 ff,), 1951.
164. BORN, Einige Bemerkungen uber Musik t 185, Messbare Rassenunterschiede in der
Dichtkunst und Tanz der Yapleute (*Z. Musik ('Homo* II, Heft 4), Gottingen,
f.
Ethnologic* XXXV,
p. 134 ff.), 1903. 1952.
165. BORREL, La
question de la polyphonie
E., !86. Ein
Hilfsmittel zur Bestimmung der
en Orient ('Tribune de St. Gervais' XXII, belieUger InteroolU ('Die

-
Schrittgrosse
p. 57 ff.), 1921. Musikforschung' V, p. 205 ff.), 1952,
!66. La Musique
turque ('Revue de Musikalische Volkerkunde (Frei-
Musicologie* III, p. 149 ff.; IV, p. 26 burg i/Br., 1953).

167.
-
ff. and 60 ff.), i922/'23).
Contribution a la bibliographie de la
. Die Tonqualitaten. ERICH M. VON
HORNBOSTEL zum Gcdachtnis (1877-

-69-
 2 o6. collab. with Toeters en
1935) (*Z. t Phonetiku.allgem.Sprach- (in id.),

wissensehaft' VII, p. 283 ff.), 1953- piepers (ibid. V

(1925), p. 311 ft; ibid.
r gg. Volksmusik in Indien ('Musica* V, VI (1926), p. 27 ft, 76 ft and 318 ft.).
207. (in collab. with, id.), Over muziek in
p. 178 ff.), 1954-
I g0f Instrumentalstile in primitiver het Banjoewangische (ibid. VI, p. 205
Musik ('Kongressbericht Bamberg 1953', ft), 1926.
208. (in collab. with id.), Over fluiten
p. 212 ff.), 1954-
The Theory of Melodies; Some ('Ned.~Indie Oud & Nieuw' XI, p. 57 ff.
191. BOSE, S.,
and 155
Aspects of Indian Music ('Perspective'
i926/'27.
ff.),

II, p. 47 ff.), Sept. 1947- 209. (in collab. with id.), Over spleet-
192. BOTJISSET, MAX, La Musique au
Viet- tromorkestjes ('De Muziek' II, p. 389 ff.
Nam (*Sud~Esf Dec. 1950, p. 48 ff.). and 437 ff.), 1928.
1920. BOUVEIGNES, OLIVIER DE, La musique
210. (in collab. with id.), De toonkunst

indigene au Congo Beige ('African

Music Uj de Madoereezen ('Djawa' VIII, p. i
Society Newsletter' I, No. 3, p. 19 ff.), ff.), 1928.
1950.
211. (in collab. with id.), Een en ander
Lss danses n&gres (ibid. I, June over Javaansche muziek ('Program of the
XQ2&.
1952, p. 21 ff.). Java-Congress, held on 27-29 Dec. 1929
volksmu- at Solo, on the occasion of the roth
193. Bouws, JAN, Zuid-Afrikaanse
anniversary of the Java-Institute* p. 45
1
uek {'Mens en Melodie V, p. 125 ff .) , 1950.
194. BOYS, R. S., Music in Toowoomba ff.), IQ29-
(Queensland} (*Xhe Canon* IV, p. 300 212. (in collab. with id.), Inlandsche
ft), 1951-
dans en muziek fTimboel' III, nrs. 13,
195. BRAILOIU, CONSTANTIN, Esquisse d'une 15, 16, 17 and 18), 1929.
m&kode de folklore musical (*La Revue de 213. Tooverklanken. Muzikale pikoelans
Musicologie* No. 40), 1932. ('Djawa' XII, p. 341 ft), 1932.
195. Die rumdnische Volksmusik ('Me- 214. De tjantang baloeng's (ibid. XIII, p.
langes offertes & Zoltan Kodaly' p. 300 258 ff.), 1933-
ff.), 1943- 215. JDe muziek van de Sekaten-gamelans
197. Le Folklore musicale ('Musica (ibid. XIV, p. 243 ff.), 1934.
Aetema', French edition, vol. II, p. 277 216. (in collab. with A. BRANDTS BUYS-
ff.), 1948
VAN ZIJP), Omtrent notaries en tran-
198. Lerhytme Aksak (Abbeville, 1952). scripties en over de constructie van game-
199. propos du fodel ('Kongressber. lanstukken (ibid. XIV, p. 127 ff.), 1934.
Intern. Musikges., Basel 1949', p. 69). 217. (in collab. with id.), Lands tran-
200. Le giusto syllabique bichrone (Toly- scripties van gendings (ibid. XV (1935),
phonie* 1948, No. 2, p. 26 ff.). p. 174 ft; ibid. XVI (1936), p. 230 ft;
2ooa. Sur nne melodie russe (in PIERRE ibid. XVIII (1938), p. 182 ff.).
SOITVTCHINSKY, 'Musique Russe* vol. 218. (in collab. with id.), Omtrent de
II, p. 329 ff.), Paris, 1953. rebdb (ibid. XIX, p. 368 ft), 1939.
201. BRANDEL, ROSE, Music of the Giants and 219. Het gewone Javaansche tooncijfer-
Pygmies of the
Belgian Congo (Watusi, schrift (het Solosche kepatihan-schrift)
Bahutu, Batma) ('Journal of the Amer. (ibid. XX, p. 87 ff.), 1940.
Musicol. Soc/ V, p. 16 ff.), 1952. 220. BRASCHOWANOW, ST., Das bulgarische
202. BRANDTS BUYS, J. S., Over het onderzoek Volkslied Brauchtum und Kunst
als
der Javaanscke en daarmee verwante ('Jahrbuch des Auslandamtes der deut-
musuk ('Koloniale Studien* IV, no. 3, schen Dozentenschaft', Leipzig, 1942).
455 ff.), 1920.
p. 221. Bulgarische Musik ('Die Musik in
203. Over de omtmikkelingsmogelijkJieden Geschichte und Gegenwart' II, col. 453
van de muziek op Jewet ('Djawa* I, Preli- ff.), 1952.
minary Advices, vol. II, p. i ff.), 1921. 222. BRAZYS, TH., Die Singweisen der litaui-
204. {in collab. with A. BRANDTS BUYS- Daina (1918).
scken
VAN ZIJP) Snotrepijperijen ('Djawa' IV 223. BREHMER, FRITZ, M
elodieauffassung und
(1924), p. 18 ff.; ibid. VI (1926), p. 318 melodische Begdbung des Kindes ('Z. t
ff.; ibid. XI (1931), p. 133 ff.; ibid. XII angewandte Psychologic' 1927, Beiheft
(1932), p. 50 ff. ; ibid. XIII (1933), p. 205 36).
ff. and 341 ff.). 224. BRELOER, BERNHARD, Die Grundek-
204^. Uitslag van de prijsvraag inzake mente der altindischen Musik nach dern
een Javaans mwneksckrift ('Djawa' IV, Bbaratiya-natya-Sastra (Bonn, 1922).
p. i ff.), 1924. 226. BRIS, E. LE, Musique annamite: Airs
205. (in collab. with A. BRANDTS BUYS- traditionnels. ('Bull, des Amis du Vieux
VAN ZIJP}, Oude Uanken (ibid. V, p. 16 Hue" IX, p. 255 ff.), 1922.
ff.), 1925. 227. Musique annamite: les musiciens
 aveugles de Hue (ibid. XIV,p.i37ff.),i927- *249. Polynesian music and dancing
228. BRITON, H. H., Philosophy of Music ('Journal of the Polynesian Soc/ XLJX,
(1911). p. 331 fi), 1940.
229. BROHOLM, H. C,, J. P. LARSEN and G. 250. BURTON, FREDERICK R., American
SKJERNE, The Lures of the Bronze Age primitive music, with especial attention to
(Copenhagen, 1949)- the songs of the Ojibways (New York,
230. BROMSE, PETER, Floten, Schalmeien und 1909).
Sackpfeifen Sudslawiens ('Veroffentl. des 2500. BUTTREE, JULIA M., The rhythm of the
Musikw. Inst. der deutschen Univ. in red man: in song, dance and decoration
Prag'), Briinn, 1937. (Barnes, 1930).
231
Von
sudslawischer Volksmusik 251. BUVARP, HANS, Studiet av Folkemusik-
('Musikblatter der Sudetendeutschen' II) . ken. Problemer verdr0rende det metodislke
232. BRUCE-MITFORD,
R. L. S., The Sutton Grunnlag ('Norveg. Folkelivsgransking*
Hoo Ship Burial ('Cornm. of the R. 2), Oslo, 1952.
Inst. of Great Britain', 2ith Oct. 1949). 252. CADMAN, CHARLES W., The 'idealization*

233. BRUCKER, FRITZ,

Die Blasinstrumente in Indian music ('The Musical Quarterly*
of
der altfranzosischen Literatur (Giessen, I, p. 387 fi), 1915.

1926). 253. CAD WELL, HELEN, Hawaiian music

234 BUCHER, KARL, Arbeit und Rhythmus ('Hawaiian Annual* 1916, p. 71 fi).
253^, CAFERO&LU, AHMED, 75 azerbayganische
f

235- BUCK, PETER H., Pan-pipes in Poly-
nesia ('Journal of the Polynesian Soc.'
L, p. 173 ft).
236. BUDDE, KARL,
Das Schwirrholz Werk-
zeug der alttestamentlichen Totenbeschwo-
rungP ('Z. f. d, Alttest. Wiss.' XLVI, p.
75 fi), 1928.
Lieder 'Bayaty in der Mundart von
Ganga nebst einer sprachlichen EinleitUng
('Mitt. d. Seminars f. Orientalischen
Sprachen zu Berlin' XXXII, 2 Abt.
p. 55 ff. (1929), p. 105 fi (1930))-
254. CAHEN, ABRAHAM, HeTweux (in LAVIGNAC,
de la Mus.' I, p. 67 fi), undated,
'Hist,

237. BUHLE, Die musikalischen Instru-

E., but before 1913.
mente in den Miniaturen des fruhen 255. CALLENFELS, P. V. VAN STEIN, The age
Mittelalters (Leipzig, 1903). of bronze kettledrums ('Bull, of the
238. BUKOFZER, MANFRED, Magie und Tech- Raffles Mus.' Series B, vol. I no. 3, p.
nikin der Alpenmusik ('Schweizer 150 fi), 1937-
Annalen' 1926, Heft III, p. 205). 256. CAMPBELL, Notes on the musical instru-
Prazisionsmessungen an primitiven the Nepalese (in S. M. TAGORE,
ments of
239.
Musikinstrumenten (*Z. f. Physik' vol. Hindu Music from various authors),
99, p. 643 fi), 1936- Calcutta, 1882 (vide below No. 1761).
240. Kann Blasquintentheorie zur
die 257. CAMPOS, RUBEN M., El folklore y la
Erkl&rung exotischerTonsysteme beitragen? musica mexicana (Publ. of the Seer, of
('Anthropos' XXXII, p. 402 fi), 1937. Publ. Educ.), Mexico, 1928.
241. of Javanese Tone-
The Evolution 258. El folklore musical de Mexico ('Es-
systems ('Papers read at the Intern. tudios Latino-americanos' III, p. 137
Congress of Musicology, held at New .), 1937-
York, Sept. nth to i6th, 1939', P* 241 260. CAPITAN, L* omichicahuatzli mexicain et
fi), New York, 1944.
son ancetre de Vepoque du renne en Gaule
242. Blasquinte (in 'Die Musik in Ge- ('Proc. Congress of Americanists* XVI),
schichte und Gegenwart' I, col. 1918 fi), Vienna, 1908.
1951. 261. CARPENTIER, ALEJO, La musica en Cuba
243. BURLIN, NATHALIE, The Indian's Book (Mexico, 1946).
(New York/London, 1907, 3/1935)- 262. CARRINGTON, J. F., A
comparative study
244. BURNIER, TH., Chants zambeziens (Paris, of some Central African Gong-languages
undated). ('Me"m. Inst. Royal Col. Beige', Brussels,
245. BURROWS, EDWIN G., Some Paumotu 1949).
chants ('Journal of the Polynesian Soc.' 263. CASTANEDA, DANIEL, and V. T. MEN-
XII, p. 221 fi), 1903. DOZA, Los percutores precortesianos (*Ana-
Native music of the Tuamotus les del Museo Nacional de Axqueologia*
246.
('Bull. No. 109 of the Ber. F. Bishop VIII), 1933-
and Los teponaztlis en las
Mus/), Honolulu, 1933. 264.
Music of the Tahaki chants (in J. F. civilizaciones precortesianas (ibid.), 1933-
247.
265. CASTELLAN os, ISRAEL, Instruments
mu-
STIMSON, The legends of Mani and
sicales de los Afrocubanos ('Archivos del
Tahaki) (BuU. No. 127 of the Ber. F.
Bishop Mus.), Honolulu, 1934. Folklore Cubano' II, p. 193 **)> Havana,
248. Polynesian part singing ('Z. f. vergl. 1926.
Musikw.' II, p. 69 fi), 1934. 266. CHAITANYA DEVA, B., The emergency of

f7~T
 Indian music, a psychological 2: Musique et danses berberes du pays
the drone in
approach ('The Journal of the Music
Academy, Madras' XXIII, p. 126 fl), 286. -
chleuh (Pans, 1933).
Bsat ('Revue deMusicologie' XVIII

267.
1952.
CHANDRA VEDI, PANDIT R. DILIP,
Compositions and the six fundamental
287.
-
p. 66 fl), 1934-
Yd Asafd, complainte arabe sur
perte de I'Andalousie ('Z. f .vergl. Musikw
la

-
'

Ragas Hindusthani Music ('The

of III, p. 83 fl), 1935-
Tableau de la musique marocaine
Journal of the Music Academy, Madras'
288.
XX,
268. CHAO,
p. 104 ff.), 1949.
WEI-PANG, Modern Chinese Folk-
lore Investigation ('Folklore Studies of the
289.
-
(Paris, 1939).
La musique musulmane ('La Musi-
que des origines a nos jours', ed. La-
Museum of Oriental
tholic Univ. of Peking' I, p. 55
III, p. 79 ff.), 3942 and '43.
Ethnology,
ff.
Ca-
and 290.
-
rousse, p. 74 fl), 1946.
(in collab. with HANS
Arabische Musik ('Die
HICKMANN)
Musik in Ge-
Yang-ko: the Rural Theatre in Ting- schichte und Gegenwart'
269.
Hopei (ibid. Ill, p. i ff.), 1944-
hsien,
270. CHAO, Y. R., Music (in SOPHIA CHEN
ZEN, 'Symposium on Chinese Culture'),
*29i.
- I, col.

Visages de la musique marocaine

('Encycl. coloniale et maritime', serie IV,
577 ff.^

1931. Maroc: Fasc. 14), undated.

271. CHAUVET, STEPHEN, La musique negre 2910. CHRISTENSEN, A., La vie musicale
(Paris, 1929). dans la civilisation des Sassanides ('BulL
272. CHAVEZ, CARLOS, La Musica. Part I. La de 1'Association Francaise des Amies de
musica en las culturas Indias ('Mexico y FOrient', Paris, 1926, p. 24.
la Cultura*, p. 475 ff.), Mexico, 1946. 292. CHRISTIAN, GEOFFREY, A new musical
273. CHENGALAVARAYAN, N., Music and instrument from Papua ('Man' XXXII,
musical instruments of the ancient Tamils No. 70), 1932.
('Quarterly Journal of the Mythic Soc.' 293. CLARK, E. R., Negro folk music in
XXVI), 1935. America ('Journal of American Folklore
273a. CHERBULIEZ, ANTOINE E., Swiss Folk LXIV, No. 253, p. 281 fl), 1951.
Music ('Grove's Dictionary 1 5th ed. vol. 294. CLEMENS, W. M., Songs of the South Sea
III, p. 376 fl), 1954- islanders ('Munsey's Magazine' Fehr.
274. CHINCHORE, PRABHAKAR, and IMOGEN 1901).
HOLST, Ten Indian Folktunes for Solo 295. CLEMENTS, E., Introduction to the Study
Descant Recorder (Soc. of Recorder of Indian Music (an attempt to reconcile
Hayers, No. 19, Schott & Co., London), modern Hindostani music with ancient
undated. musical theory and to propound an
275. CHTNNASWAMY MUDALIAR, A. H., Ori- accurate and comprehensive method of
ental Music in Staff Notation (Madras, treatment of the subject of Indian musical
1892). intonation (London/New
York/Bombay/
276. CHINNERY, E. W. P., Further Notes on Calcutta, 1913).
theWooden Kipi Trumpet and Conch 296. CLOSSON, ERNEST, L'instrument de musi-
Shell by the Natives of Papua ('Man* que comme document ethnographique
XVII, p. 73, No. 55), 1917- ('Guide Musical', p. 2 ff., BruxeEes,
277. CHOTTTN, ALEXIS, Airs populaires re-
ceuUHs a Fes ('Hesperis' III, p. 275 ff ;
IV, p. 225 ff.), i923/'24.
.
297.
-
1902).
M. von Hornbostel et I'ethnographie
musicale ('Guide Musical' LX, p. 335
278.

279.
La musique marocaine ('Outre Mer*
March 1929).
Les visages de la musique marocaine
298. -
fl), 1914.
A propos de la Zambumbia colom-
bienne ('Acta Musicologica' II, p. 122

280.
{'Le MenestreT vol. 93, p. 217 and 230),
1931-
Corpus de musique marocaine, fasc.
299. -
fl), 1930.
Un principe exotique inconnu d'or-
ganologie musicale ('La Revue musicale'

281.
i : Nouba de Ochchak

Me"nestrel'
Airs
(Paris, 1931).
populaires marocains ('Le
vol. 94, p. 351, 359, 367),
300. -
XIII, p. 200 fl), 1932.
La flute egyptienne antique
F&tis ('Acta Musicologica' IV, p. 145
de

282,
1932.
Chants
(ibid., vol.
et danses berberes au Maroc
95, p. 359), 1933.
301. -
1932- -
Questionnaire d' Ethnographic. Mu-
sique ('Bull, de la Soc. Royale Beige de
ff.),

283.

284.
(*Z. 1
Instruments, musique etdansechleuhs

La
vergl. Musikw.'
pratique du chant
I, p. n ff.), 1933.
chez les musi-
302.
et
-
Geographic' XLIX, p. 132 ff.), 1925.
Les melodies lithurgiques syriennes
chalddennes ('La vie et les Arts
ciens marocains (ibid. I, p. 52 ff.), 1933.
Ethurgiques' No. 134, p. 178 ff.), Paris,
285. Corpus de musique marocaine, fasc. Febr. 1926.
3 o20. COCKS, WILLIAM A., Bagpipe ('Grove's 3180 CROSSLEY-HOLLAND, P., Tibetan Music
Dictionary' 5th ed., vol. I,p. 344), 1954. ('Grove's Dictionary' 5th ed. vol. VII,
303. COEUROY, ANDRE, Le folklore et la p. 456 fl), 1954.
chanson populaire en Europe ('La Mu- Welsh Folk Music ('Grove's Dic-
sique des origines
& nos jours', ed. tionary' 5th ed., vol. Ill, p. 398 fl),
Larousse, p. 83 if.), 1946. 1954-
304. COLLAER, PAUL, Importance
des musiques 319. CSENKI, IMRE and SANDOR, Nepdal-
ethniques dans la culture
musicale con- gyujtes a magyarorszdgi cigdnyok kozott
temporaire ('Journal of
the Intern. Folk (A collection of folkmusic among the

Music Council' IV, p. 56 fl), 1952. gipsies in Hungary) (in 'Melanges offerts
Notes sur la musique d'Afrique a ZOLTAN KODALY a 1'occasion de son
3040.
centrale ('Probletnes d'Afrique Centrale' 6oieme anniversarre*, p. 343 fl), Buda-
VII, p. 267 fl), 1954- pest, 1943.

305. COMBARIEU, JULES, La musique et la 320. CUKOV, EMANUIL, Contenue ideologique

magie. Etude sur les origines populaires
etproces rhythmique de la danse populaire
de I'art musical, son influence et $a macedonienne ('Journal of the Intern.
fonction dans les sociites (Paris, 1909).
Folk Music Council, IV, p. 39 fl), 1952.
30 5 Histoire de la Musique (Paris, 1913), 321. CUNNINGHAM, ELOISE, The Japanese Ko-
vol. I. uta and Ha-uta, the 'little songs' of the
307. COMETTANT, O., La musique, les musi- i?th century ('The Musical Quarterly'
ciens et les instruments de musique chez XXXIV, p. 68 fl), 1948.
les diffe'rents peuples du monde (Paris, 322. DALAL, NAVTNKUMAR, Die Pflege der
indischen Kunstmusik ('Musica' V, p.
1869).
CONDOMINAS, G., Le lithophone pr&- 182 fl), 1954-
308.
historique de Ndut Lieng Krak ('Bull, de 323. DAM Bo, The music of the Pemsians
1'Ecole Fran9aise d' Extreme Orient' ('The Journal of the Music Academy,
XLV, p. 359 fl), Hanoi 1952 (written in Madras' XXI, p. 139 fl), I95<>-
1950). 324. DANCKERT, WERNER, Ursymbole melo-
CONKLIN, HAROLD C., and WILLIAM discher Gestaltung (Kassel, I93 2 )-
309.
C. STURTEVANT, Seneca Indian Singing 325. Ostasiatische Musikdsthetik ('Osta-
Tools at Coldspring Longhouse ('Proc. siatische Zeitschrift', N.S. VII), 1931.
Amer. Philos. Soc.' XCVII, p. 262 fl), 326. Musikwissenschaft und Kulturkreis-
June 1953.
lehre ('Anthropos' XXXII, p. I fl), 1937-
310. COOMARASWAMY, ANANDA K., Indian 32 y. Musikethnologische Erschliessung
Music ('The Musical Quarterly' III, p. der Kulturkreise ('Mitteil. d. Anthrop.
Ges. Wien' LXVII, p. 53 ff.) f 193?-
163 fl), 1917-
The parts of a Vina (ibid. L, p. 238 32 8. Wandernde Liedweisen t eine Grund-
3II .

frage volkskundhcher Musikforschung

fl), 1930.
3I2 . The old Indian Vina ('Journal of ('Archiv 1 Musikforschung' II, p. 101
the Amer. Oriental Soc.' LI, p. 47 fl), -), 1937-

32^. Grundriss der Volksliedkunde (Ber-

1931.
3I3 .
passage on Vina-playing ('Z. 1
A h:n, 1938).
Musikw.' III, p. 88), 1935. 330. Das europ&ische Volkslied (Berlin,
vergl.
3130. CORBET, AUGUST L., Netherlandish 1939).
Folk Music ('Grove's Dictionary* 5th. 33 !, A
felhang nelkuli pentatomca erdete
ed. vol. Ill, p. 317 fl), 1954- (The origin of anhemitonic pentatonic
scales) in 'Melanges offerts
k ZOLTAN
*3i4. COURANT, MAURICE, Essai historique
sur la musique classique des Chinois, KODALY a Toccasion de son 6oieme
avec un appendice relatif a la musique anniversaure', p. 9 ff.), Budapest, 1943.
Alteste Musikstile und Kulturschich-
cor&enne (in LAVIGNAC, 'Hist, de la Mus.', 332.
vol. ten in Ozeanien und Indonesian ('Z. f.
I, p. 77 fl), 1912.
3I5 .
Japon> notice historique (ibid., p. Ethnologic' vol. 77, p. 198 fl), 1952.
333. DANIEL, F. The Music and the Musi-
S.,
242 fl), 1912.
Arabs (1915)-
cal Instruments of the
316. COURLANDER, HAROLD, Notes from a
Introduction to the
Abyssinian diary ('The Musical Quarterly' 334. DANIELOU, ALAIN,
XXX, p. 345 **)> I944- Study of Musical Scales (London, 1943)-
CRAMPTON, H. E., The songs of Tahiti 332 . The categories of intervals or Srwti
317. ^
of the Music Aca-
('American Museum Journal' XII, p. Jatis ('The Journal
141 fl), 1912. demy Madras' XVII, p. 74 ff.), I94 6 -

Folk The different schools of Indian

318. CRINGAN, ALEXANDER T., Iroquois 33 6.
Music (ibid. XIX, p. 165 fl), 1948-
Songs ('Archeological Report, Appendix
Northern Indian Music (2 vols.) I. :

to Report of Minister of Education', *3 3 y.

Toronto, 1902, p. 137 fl). History, Theory and Technique (London/

73
 Calcutta, 1950) II. The main Ragas. An
; 357. DEJARDIN, A., Alain Gheerbrant1
aux
sources de I'homme ('Syntheses VII, No.
analysis and notation (London, 1953)-
33$. A Commentary on the Mahesvara 78, p. 50 fi), 1952.
Sutra ('The Journal of the Music Acade- 358. DELGADILLO, Luis A., La Musica
my, Madras' XXII, p. 119 %), *95i- Iwdigena y Colonial en Nicaragua
339. Notes on the Sangita Damodara ('Estudios Musicales' I, No. 3, p. 43 ff.) f

(Ibid. XXII, p. 129 fi), 1951-

Mendoza, Argentina, 1950.
340. Some Problems facing research on 359. DELMAS, SIMEON, Ami hune (chant de
Indian Literatures on Music (ibid. XXIII, cannibales)('Bull, de la Soc. d'Etudes
Oceaniennes' III, p. 254 fi), 1929.
p. 117 ft), 1952.
34!, Catalogue of Indian Music (Unesco, 360. DEMIEVILLE, PAUL, La Musique Came
Paris, 1952)-
au Japon ('Etudes Asiatiques', vol. I, p.
342. Research on Indian Music ('The 199 ff-), 1925.
DENES, BARTHA, and Kiss,
Journal of the Music Academy, Madras* 361. J6zsEF,
XXIV, p. 57 -), 1953- Otodfelszdz enekek (Budapest, 1953).
3^3. Le$ arts traditionels et leur place 362. DENSMORE, FRANCES, The Music of the
dans la culture de I'Inde ('L'originalite Philippines ('Amer. Anthrop/ VIII No.
des cultures', p. 200 f.), Paris (Unesco), 4, p. 611 fi), 1906.
1953, 2/1954. 363. Scale formation in primitive music
344. DARMSTETER, JAMES, Chants populaires ('American Anthropologist* N.S. XI, p.
des Afghans ("Soc. asiatique, Collection i ff.), 1909.

d'ouvrages orientaux*, 2nd series), Paris, 364. Chippewa Music ('Bull, of the
1880-1890 (2 vols.).
Bureau of American Ethnology' Nos. 45
34^, Afghan Songs ('Selected Essays* p. and 53), 1910 and 1913.
105 ft), Boston, 1895. 366. The
study of Indian music
346. DAS, K.N., The Music of Assam ('The ('The Musical Quarterly' I, p. 187 ff.),
Journal of the "Music Academy' XXI, p. 1915.
143 fl), 1950. 367. Teton Sioux Music ('Bull, of the
347. Time Theory of the Ragas (ibid. Bureau of Amer. Ethnology' No. 61),
XXII, p. 69 fi), 1951- 1918.
34711. DAVID, Basque Folk Music
PAUL, 368. Indian action songs. A
collection of
('Grove's Dictionary* 5th ed. vol. Ill, descriptive songs of the Chippewa Indians,
p. 193 ft), 1954. with directions for pantomimic represen-
348. DATIES, E. HAROLD, Aboriginal Songs tation in schools and community en-
of Central- and South-Australia ('Ocea- sembles (Boston, 1921).
nia* II, p. 454 fi), 1932. 369. Recent developments in the study of
349. DAVY, J., Music of Ceylon (in: S. M. Indian music ('Proc. of the I9th Intern.
TAGORE, 'Hindu Music from various Congress of Americanists', Washington
authors'), Calcutta, 1882. 1915. (Reprinted in 'Scientific Amer.
350. DAWSQN, WARRTNGTON, Le caracUre Supplement', April 20, 1918).
special de la musique n&gre en AmSrique 370. The rhythm of Sioux and Chippewa
('Journal de la Soc. des Amdricanistes* music ('Art and Archaeology' IX, p. 59
XXIV, p. 273 ff.), 1932. ff.), 1920.
351. DAY, CHARLES RUSSELL, The Musical 371. Northern Ute Music ('Bull, of the
Instruments of Southern India and the Bureau of American Ethnology* No. 75),
Deccan (New York/London, 1891). 1922.
352. Notes on Indian Music ('Proc. of 372. Mandan and Hidatsa Music (ibid.
the Mus. Ass.* XX, p. 45 ft), i893/'94 . No. 80), 1923.
353. Denkmaler der japanischen Ton- 373. Music in the treatment of the sick
knnst (Tokyo, 1930). by American Indians ('Hygeia' April,
354. DEACON, A. BERNARD, Matekula, a 1923, p. 29 fi).
vanishing people in the New Hebrides 3^4, Field studies of Indian music
(London, 1934), P- 4 1 #- 39* *f- and 498 ff. ('Exploration and Fieldwork Smithso-
355. DECHEVRENS, S. J., Etudes de science nian Inst. in 1923', p. 119 ff.), 1924.
musical 4 vols, containing
(Paris, 1898), 3^5. Rhythm in the music of the American
a.o.: System model de Pythagore et des Indian ('Annales XX
Congress Interna-
Grecs posterintrs; La musique greco- cional de Americanistas* Rio de Janeiro,
romaine et I'octoechos; Chants liturgiques 1924, p. 85 fi).
chef les Juifs et les Orientaux; Melodies
376. Study of Tule Indian music ('Explo-
armenwnnes, etc. ration and Fieldwork Smithsonian Inst.
356. Etude sur le syst&me musical in 1924', p. 115 fi), 1925.
cMnois ('Sammelb. d. Intern. Musikges.* 377. Music of the Tule Indians of
II, p. 485 ff.), 1901. Panama ('Smithsonian Miscellaneous

74
 Collections' vol. 77, No. n, publ. No. 398. On 'expression' in Indian singing

g ,_
2864), 1926.
The American Indians and their
.

Music (New York, 1926, 2/1936).

.
(ibid., p. 487 ff.), 1934.
Cheyenne
(Publ. of the S.
and Arapaho
W. Museum),
Music

_
_ The, Study of Indian Music in the 400. The Alabama Indians and their
1936.

igth century ('American Anthropologist* music ('Straight Texas', No. 13, p. 270

g _. _
XXIX, p. 77 ff-) *927-
instruments
Handbook
in
of the collection of musical
the U.S. A. National
1.
Austin, 1937.
ff.),
Music of Santo Domingo Pueblo,
New Mexico (Publ. of the S. W. Mu-
. _
museum (Washington,
_ The use of music in the treatment
the sick by American Indians ('The
1927)-
402.
seum), 1938.
Musical instruments
Indians ('Amer. Anthropol.' XLJ, p. 113
of the Maidu
of
Musical Quarterly* XIII, p. 555 ft), ff.), 1939.
The use of the term 'tetrachord' in
3 g2
1927.
___ _ Some .
results of the Study of Ameri-
403.
musicology ('Journal of Musicol/ 1, p. 16
can Indian Music ('Journal of the
ff.), 1940.
Washington Acad. of Science' XVIII), Nootka and Quileute Music ('Bull.

_
1928.

('Exploration
of Winnebago Indians
Music
and Fieldwork Smith-
the
404.

405.
of the
No.
Bureau of American Ethnology'
124), 1939.
Music of the Indians of British

_ -
sonian Inst. in 1927', p. 183 ff.), 1928.
The melodic formation of Indian
Acad.
Columbia ('Anthropol. Papers' No. 27,
Bull. No. 136 of the Bureau of American
songs ('Journal of the Washington Ethnology' p. i ff.), 1943-
_
of Sciences' XVIII, p. 16 ff.), 1928.
Papago Music ('Bull, of the Bureau
406. Choctaw Music ('Anthropol. Papers'
No. 28, Bull. No. 136 of the Bureau of
-
of American Ethnology' No. 90), 1929.
Pawnee Music (ibid. No. 93),.
American Ethnology',
La musica de
p. 101 ff.),
indios
1943-
norte-

-
386. los
407.
1929 americanos ('Boletin Latino-Americano
387 Music of the Winnebago and Meno- de Mtisica' V, p. 363 ff.), 194*-
minee Indians of Wisconsin ('Explo-
409. The study of Indian music ('Annual
ration and Fieldwork Smithsonian Inst.

388.
-
in 1928', p. 189
Importance
ft), 1929-
of rhythm in songs for the
treatment of the sick by American Indians
4 IO
Report, Smithsonian Inst. for 1941', p.

.
527 ff.), 1942-
The USB
Indian songs ('Amer. Anthropol.'
t

of meaningless syllables in
XLV,
.

Monthly' LXXIX, p. 109

389.
-
('Scientific
fi), 1954-
Music of the Winnebago, Chippewa
and Pueblo Indians ('Explor. and Field-
4II .
p. 160
1943. ff.),
Traces of foreign influences in the
music of the American Indians ('Amer.
Anthropol.' XLVI, p. 106 ff.), 1944-
work of the Smithsonian Inst. in 1930',
A
390
-
Publ. 3111, p. 217 ff.), 193*-
Music of the American Indians at
_

public gatherings ('The

Musical Quarterly'
41 2 . search for songs
Chitimacha Indians of Louisiana ('Bur.
Amer. Ethnol. Bull. No. 133, Anthropol.
among the

39!..
-
XVII, p. 464 ff.), 1931-
The native music of American Samoa
1

('Amer. Anthropologist XXXIV, p. 415

4I3 .
Papers No. 19, p- 1
The importance
ff.),

Indian songs (*Amer. Anthropol.' XLVII,

1944-
of recordings of

392.
-
ff. and 694 ff.), 1932-

Menominee Music ('Bull, of the

Bureau of Amer. Ethnology', No. 102),
414.
p. 4)> 1945-
DEUBNER, LUDWIG, Die
('Mitt. d. I>eutschen
Archaologischen
viersaitige Leier

-
1932.
Yuman and Yaki Music (ibid. No. 1929.
Inst., Athenische Abt.' LIV, p. 194 **-)*

393.

394.
no), 1932.
-
The music of the North American
Indians ('Proc. of the Congress of XXV
415. Deutsche Volkslieder
(herausg. vom
mit ihren Mdodien
Deutschen Volkslied-
archiv). vols. I (1935), (1939), HI H

39 5 .
-
Americanists, I93 2 ', p- H9 ff-) I 93 2
resemblance between Yuman and
A
Pueblo Songs ('Amer. Anthropologist'
.

416. D^VIGNE, ROGER,

Phonotheques et leur rdle
Rapport
dans la culture
sur Us

musicale mondiale ('OrpheV I, 4ta

396.
-XXXIV,
the
p. 694 ff), 1932.
The songs of Indian soldiers during
world war ('The Musical Quarterly' 4I
quarter, p. 30 ff.), 1953-
6a. L'Indochine folklorique. Chants et

397.
-XX, p.
Gulf
^
419 ff-). *934.
Study of Indian Music in
States ('Amer. Anthropologist*
the
musique du Laos, du Cambodge

p. ii ff.).
et de

I'Annam ('Orphee' I, 4th quarter, 1953,

417. DHARMA, P. C., Musical Culture in the

XXXVI, p. 386 if.), 1934-

75
 Technic of Siamese Music in relation to
Ramayana ('Indian Culture' IV, p. 447
Western Music ('Newsletter of the
ff.} 1937-
Volkslieder African Music Soc/ 1, No. 4, p. 2 ff.), 195^
418. DIRR, A., 25 georgische Thai Music (3rd ed.,
('Anthropos' V), 1910-
Bangkok,
Musikinstrumente der 1954)-
419. DITTMER, KUNZ,
Volker. Einfuhrung in die Musikinstru- *438. DUYSE, FLORIMOND VAN, Het oude
f

mentenkunde der aussereuropaischen Vol- Nederlandsche lied (Den Haag, i9O3- o5).
439. EBERLEIN, P. J.,
Die Trommelsprache
ker (Hamburg, 1947) .

Zur Enistehung der Kernspaltflote auf der Gazelle-Halbinsel (Neu-Pom-

42 o. 1

mern) ('Anthropos V, p. 635 ff.), 1910.

f Z. 1 Etimol/ LXXV, p. 83 it), 1950- .
CARLOS BORROMEU, Beifr&ge
Tine musical bow in EBNER,
421. DIXON, ROLAND B,, 440.
am Amazonas ('An-
zur Musikgeschichte
California {'Science* K.S. XIII, p. 274
ais missionarios do preciosissimo san-
ft), 1901-
VLADIMIR R., Skopke gai- gue'), Belem, 1950.
422. DJORDJEVIC,
dardjie i njifam musi&ii
instrument* 441. ECKARDT, ANDREAS, Koreanische Musik
('Mitfceil. d. deutsche
Ges. 1 Nat.- u.
(Skopje, 1926). r
in- Volkerk. Ost-asiens XXIV, B), Tokyo,
423. Nek&ji detji narodni muziSki
strument f Svete Cecffije' XXII), 1928. 1930.
Melodies populaires serbes (Serbie 442. ECKARDT, HANS, Die Ei und Saezuri,
424.
verschollene melismatische Gesangsformen
dusnd} (Skoplje, 1928).
425. Melodies populaires serbes (Beo- imjapanischen Tanz ('Kongressber/
grad, 1931)- D.G.M., Liineburgi95o',p. 170 ff.), 1951.
426, Collection of 125 Serbian folk songs 443. Rydwd ('Sinologica' III No. 2, p.
(Beograd, 1933)-
no ff.), 1952-
55 Serbian folkdance melodies 444. Chinesische Musik ('Die Musik in
427.
harmonized for small orchestra (Beo- Geschichte und GegenwarV II, col. 1205
grad, 1934). ff.), 1952.
428. DJOUDJEFF, STOYAN, Rythme et Mesure 445. Somakusa ('Sinologica' III No. 3,
dans la Musique populaire Bulgare p. 174 ft), 1953-
(Paris, 1931). 446. Die geistige Umwelt des Tachibana
429. DODGE, ERNEST, and EDWIN T, BREW- Narisue ('Nachrichten der ost-asiati-
STER, The acoustics of three Maori flutes schen Ges.' No. 34), Hamburg, 1953.
('Journal of the Polynesian Soc/ LXIV, 447. EHRENREICH, PAUL, Der Flotentanz
C
der
p.39 ff.), 1945. Mohi (
Z. f. Ethnol/ XXXII, p. 494 ft),
4293. DONINGTON, ROBERT, Instruments 1900.
f Grove's Dictionary* 5th ed., vol. IV, 4470. ELIADE, MIRCEA, Le chamanisme et les
p. 487 ff.), 1954- techniques archaiques de I'extase (Paris,
430. DONOSTIA, FATHER Jos& ANTONIO DE, 1951).
Basken ('Die Musik in Geschichte und 448. ELKIN, A. P., Arnhemland Music
Gegeawarf I, col. 1366 ff.), 1949-^ i. ('Oceania* XXIV, p. 81 ff., XXV, p. 74
431. Instrmnentos musicaUs del pueblo ff .), resp. Dec. 1953 and Dec. 1954 (to b6
1
masco {' Anuario Musical VII, p. 3 ff.), continued).
Barcelona, 1952. 449. ELKIN, CLARENCE, Maori Melodies
432. Les instruments des danses popu- (Sydney, 1923).
laires espagnoles ('Journal of the Intern. 450. ELLIS, ALEXANDER J., On the Con-
Folk Music Council* VI, p. 26 ff.), 1954. ditions of a Perfect Musical Scale on
432*. La mnsica popular vasca (Bilbao, Instruments with Fixed Tones (Publ. of
1918). the Royal Society, 1864).
433, DRAGER, HANS HEINZ, Prinzip einer 451. On the Physical Conditions and
Systematik der Musikinstrumente (Kas- Relations of Musical Chords (Publ. of id.,
sei 1948). 1864).
434. Das Instrument als Tr&ger und 452. On the Temperament of Instruments
Ausdruck des musikalischen Bewusstseins with Fixed Tones (PubL of id., 1864),
('Kongress-Bexicht Baniberg 1953* P- 67 453* On Musical Duodenes (Theory of
1954-
ff.}, Constructing Instruments with Fixed
435. DRIVER, HAROLD E., The Spatial and Tones in just or practically just Into-
Temporal Distribution of the Musical nation) (Publ. of id., 1874).
Rasp in the New World ('Anthropos' 454. Translation of and Commentary on
LVIII, p. 578 ff.), 1953. HELMHOLTZ, 'Lehre von den Tonem-
436. DUCHESNE-GUILLEMIN, MARCELLE, La pfindungen' (1875).
harpe en Asie occidentale ancienne 455. Translation of and commentary on
fRevne d'Assyriologie* XXXIV), 1937. PREYER, 'Ueber die Grenzen der Ton-
437. DURTSTANGA, PHRA CHEN, A Talk On the wahrnehmung'

-76-
 __ On the Measurement and Settle- and Primitive Music (Tokyo, The Nanki
'went of Musical Pitch (Publ. of the Music Library, 1929).
Musical Association, 1877). 479. ENGEL, CARL, The music of the most
__ The Basis of Music (Publ. of id., ancient nations, particularly of the

-g _

id.,
- .
Pronunciation for Singers (Publ. of
is??)-
Hebrews, with special reference to recent
discoveries in Western Asia and in Egypt
(London, 1864),
Speech in Song (Publ. of id., 1878). 480. Ueber indische Musih
ENGEL, HANS,
.eg.
fo
_ The History of Musical Pitch Musikw.' IV, p. 202 ff.), 1939.
('Arch. f.

fa _ - Tonometrical Observations on some

481. ERK, LUDWIG, and Father M. BOHME,
Deutscher Liederhort (Leipzig, 1893 '94),
existing non-harmonic Scales ('Proc. of 3 vols.

.
2< -
theR. Soc.', 1884).
On the Musical Scales of Various
Nations ('Journal of the Soc. of Arts',
482.

483.
ERLANGER, RODOLPHE
arabe (5 vols.), Paris,
UArchdologie
D',
i93O/*49.
La musique
musicale. Un vaste
1885). champ d'investigations musiciens
pour les
ELWIN, VERRIER, Folksong of the Maikal de la jeune generation ('Revue Musicale'
463.

^64.
465.
-
hills (1944)-
Folksongs of Chhattisgarh (1946).
EMERSON, JOSEPH, S., Music of the
XI, part 2, p. 45 ff.), 1930.
484. ESTREICHER,
Caribou-Eskimos
ZYGMUNT, The Music of the
('Encl. Arctica' II:
Hawaiians. Singing, musical instruments Anthropology), New York, 1931.
('Mid-Pacific Magazine' XII, p. 579 ff., 485. Zur Polyrhythmik in der Musik
XIII, p. 249 ff.), 1916 and '17. der Eskimos (*Schw. Musikxeitung'
466. EMERSON, NATHANIEL H., Unwritten LXXXVII, p. 411 fi), 1947-
Literature ofHawaii. The sacred songs of 486. La musique des Esquimaux-Cari-
the Hula ('Bull, of the Bureau of Ame- bous ('Bull, de la Soc. neuchateloise de
rican Ethnology' No. 38), Washington, Geographic' 1948, p. I fi).
1909- 487. Teoriadwutonowychmelodii (*Kwar-
talnik Muzycky' VI, p. 208 ff.), War-
467. EMMANUEL, MAURICE,
Grece (Art Gr&co-
Romain) (in LAVIGNAC, 'Hist, de la schau, 1948.
Musique* I, p. 377 ff.), 1911. 488. Die Musik der Eskimos ('Anthro-
468. EMRICH, DUNCAN, Folk Music of the pos' XLV, p. 659 ff.), 1950.
United States and Latin America (com- 489. Eskimo-Musik ('Die Musik in Ge-
bined catalogue of phonograph records) schichte und Gegenwart' III, col. 1526
(The Library of Congress, Washington ff.), 1954-

B.C., 1948). 4890. Ethno-musicology, Newsletters No. I

EMSHEIMER, ERNST, Drei Tanzgesange (Bee. 1953), 2 Aug. 1954), 3 Pec. 1954)
469.

4^ 0<
-
der Akamba

Anwendungsart
Ueber
('Ethnos' 1937)-
das Vorkommen und
der Maultrommel in
die
issued bij ALAN P. MERRIAM c.s., 1330,
Martha Washington Drive, Wauwatosa
13, Wisconsin.
Sibirien und Zentralasien ('Ethnos' 1941, 490. EXNER, F., and R. POCH, Phonographi-

471.
-
p. 109 fi).
The Music of the Mongols. Music of
Eastern Mongolia ('Reports from the 491.
sche Aufnahmen in Indien und Neu-
guinea (1905).
FADDEGON, BAREND, Studies on the
scientific expedition to the provin- NW Samaveda, Part I. ('Verhand. Kon.
ces of China under the leadership of Br. Akad. v. Wetensch.' Afd. Letterk. N.S.
SVEN HEDIN', publ. 21, p. 69 ff.), LVII, No. i (Amsterdam 1951).
Stockholm, 1943. 492. FARA, GIULIO, Su uno strumento musi-
Bibliogra- cale sardo (Turino, 1913).
*472. Musikethnographische
Giocattoli di musica rudimentale in
phie der nichtslavische Volker in Russland 493.

-
('Acta musicologica' XV, p. 34 fi), 1943.
Zur Ideologie der lappischen Zau- 494.
Sardegna (Cagliari, 1916).
FARMER, HENRY GEORGE, The music and
473.

-
bertrommel ('Ethnos' 1944, p- 141 fi)-
Schamanentrommel und Trommel-
musical instruments of the Arab,
Salvador-Daniel (London, 1915)-
"by F.
474.

475.
-
baum (ibid. 1946, p. 166 ff.).
Eine sibirische Parallele zur lap-
pischen Zaubertrommel? (ibid. 1948, P- 1 7
492. The Arab Influence on Music in
Western Sudanf including References to
Modern Jazz ('Musical Standard* N.S.
the

-
ff.).
A Lapp musical instrument 496.
XXIV, p. 158 ff.), 1924-
Clues for the Arabian Influence on

-
476. (ibid.
1947, p. 86 ff.). European Musical Theory ('The Journal
of the R. Asiatic Soc. of Gr. Britain and
477. Lappischer Xultgesang ('Kongress-
bericht Liineburg, 1950'), p. 153 ff. Ireland' 1925)*
*478. ENDO, HIROSI, Bibliography of Oriental 49 7 . Byzantine Musical Instruments in

77
 - Sa'adyah Gaon on the Influence
theNinth Century ('Journal of the Royal of
Music (Glasgow, 1934)-
Asiatic Soc.' 1925, p. 299 #). .
Turkish Instruments of Music in
498. The Arabian influence on musical 518.
the Seventeenth Century, as described in
theory (London, 1925)-
m Siyahat Nama of Ewliya Chelebi
.
,
MSS. the the
*
499 . The Arabic musical
Bodleian Library (London, 1925)- (Glasgow, 1937).
Outline History of Music (in
500 Facts concerning the Arabian music- 519-
ARTHUR UPHAM POPE, 'Survey of Per-
al influence ('Musical Standard' XXVI,
ff., 43 fk
sian Art'), London, 1938-
p. 215 ff.; XXVII, p. 9 ft, 29 Ancient Arabian musical instru-
61 ., 75 ff-, 98 ff-, H3
ff- 132 ffv 161 520,
and 2O
'
ments (translation of the 'Kitab al-
175, and 196 ff.), 1925
-
If.
The influence of music: from Arabic
malahf by JAMES ROBSON; Notes on
501. the instruments by FARMER), Glasgow>
Lecture delivered before the
sources.
Musical Association (London, 1926). 1938-
Studies in Oriental musical instru-
502 The Canon and Eschaquiel o/ the 521-
ments (2nd series), Glasgow, 1939, con-
Arabs (' Journal of the Royal Asiatic
239 ff-)-
Soc.' 1926, p. taining:
A. Reciprocal Influences in Music 'Twixt
5 o3 . Ibn Kurdadhbih on Musical Instru-
the Far and Middle East
ments {'Journal of the Royal Asiatic
Soc.' 1928, p. 59 ff-). B. A Maghribl Work on Musical Instru-
A Arabian Music ments
5 o4 . History of
C. An
Old Moorish Lute Tutor
(London, 1929).
The evolution the tambur or D. The Lute Scale of Avicenna
5o 5 . of
of the Glasgow E. Was the Arabian and Persian Lute
pandore ('Transactions
Univ. Oriental Soc/ V), 1930. fretted?
F. The Instruments of Music on the Taq-
5o6 Greek Theorists of Music in Arabic
i-Bustan Bas Reliefs
Translation ('Isis* XIV, p. 325 ff.), 1930*
Historical facts for the Arabian G. The Structure of the Arabian and
5&7 .
musical influence (London, 1930). Persian Lute in the Middle Ages
50S. Studies in Oriental musical Instru- 522, Early References to Music in the
ments (ist series), London, I93 1 * con
- Western Sudan ('Journal of the Royal
Asiatic Soc/ 1939* P- 5 69 ff.).
taining:
A. The Medemal Psaltery in the Orient . Turkish Instruments of Music in
B. The Origin of the Eschaquiel the Fifteenth Century ('Journal of the
C. Two Eastern Organs Royal Asiatic Soc/ 1940* p. 195 *f -)-
D. A North African Folk Instrument 4. The Sources of Arabian Music, an
E. Ninth Century Musical Instruments Annotated Bibliography (Bearsden, 1940).
F. A Note on the Mizmar and Nay 525 The Jewish Debt to Arabic Writers
G. Meccan Musical Instruments on Music ('Islamic Culture' XV, p. 59
H. The Origin of the Arabian Lute and
Rebec
The Organ of the Ancients: from
^26.
-Music: The Priceless Jewel (from
the 'Kitab al-iqd al-farid' of IBN 'ABD
509 .
Eastern sources (Hebrew, Syriac and
AraUc) (1931)-
5 IO . Music (in ARNOLD and GTJILLAUME,
"

^27.
-
RABBIHI (d. 940)), Bearsden, 1942.
Wechselwirkungen mittel- und ost-
asiatischer Musik ('Melanges offerts a

511.
"The Legacy of Islam*), London, 1931.
The influence of Al-Farabi's 'Ihsa
*al~ 'mlurn* (De Scientiis) on the writers on
528.
-
ZOLTAN KODALY' p. 32 ff.), 1943.
The Music of the Arabian Nights
('Journal of the R. Asiatic Soc. of Gr.
music in Western Europe ('Journal of the Britain' 1944, p. 172 ff.; ibid. 1945. P- 39
R. Asiatic Soc.* 1931, p. 349 ff.; ibid.
1932, p- 99 ff- and 379 ff,).
-
ff.).
The Minstrelsy of the Arabian
522. Tke *Ihsa. *al- *ulum* ('Journal of
the R. Asiatic Soc/ 1933, p. 906 ff.).
Mftimonides on listening to music
529.

^30.
-
Nights (Bearsden, 1945).
'Ghosts'; an Excursus on Arabic
Musical Bibliographies ('Isis' XXXVI,
513.

514.
(ibid. 1933, P- 867 ff.).
A fmiker Arabic-Latin writing on
Music ('Journal of the Royal Asiatic
531. -
p. 123 ff.), i945/*46-
Oriental Studies,
(London, 1953) :
mainly musical

Soc.' 1933, P- 307 ff-)- A. What is Arabian Music?

^jfi;. Al-Farabi's Arabic-Latin Writings B. Arabian Musical Instruments on a
on Music (Glasgow, 1934). Thirtheenth Century Bronze Bowl
516. Ancient Egyptian instruments of C. Turkish Musical Instruments in the
music ('Transactions Glasgow Univ. Fifteenth Century
Oriental Soc/ VI), 1934. D. The Importance of Ethnological Studies

- 78
 E. Early References to Music in the 540. FERNALD, HELEN E., Ancient Chinese
Western Sudan Musical Instruments ('Journal of the
F. The Musical Instruments of the Univ. of Pennsylvania Museum' XVII,
Sumerians and A ssyrians p. 325 fl), 1926.
G. An early GreekPandore 541. FERREIRA, ASCENSO, O Bumba-Meu-Boi
Arabian Music ('Grove's Diction- ('Arquinos' I/II,p. 121 fl), Recife, 1944.
ary' 5th ed, vol. I, p. 179 fl), 1954- 542. FILLMORE, JOHN COMFORT, The har-
Berber Music (ibid. vol. I, p. 632 monic structure of Indian Music ('Archiv
f), 1954- 1 Anthropologie' I, Fasc. 2), 1899.
ic. Egyptian Music (ibid. vol. II, p. 543. FlNESINGER, SOL BARUCH, Musical
891 fl), I 954- Instruments in the Old Testament (Balti-
<

Iraquian and Mesopotamian Mu- more, 1926).

sic (ibid. vol. IV, p. 529 fl), 1954. 544. FIRFOV, GIVKO, Macedonian Music
i0. Maghribi Music (ibid. vol. V, p. Folklore (Skopje, 1953).
504 fl), 1954; 245. Les caracteres metriques dans la
i/.
Moorish Music (ibid. vol. V, p. 868, musique populaire macedonienne ('Jour-
fi), 1954- nal of the Intern. Folk Music Council'
Persian Music (ibid. vol. VI, p. IV, p. 49 ff.), 1952.
676 fl), 1954- 246. and PAITONJIEV, GANCHO, Mace-
Syrian Music (ibid. vol. VIII, p. donian Folk Dances, vol. I (Skopje, 1953).
251 fl), 1954- 547. FISCHER, E., Patagonische Musik ('An-
,j3ii.
The Music
of Ancient Mesopota- thropos' III), 1908.
mia ('The New
Oxford History of 548. Beitrage zur Erforschung der chine-
sischen Musik ('Sammelb. d. Intern.
1
Music , 3rd ed., vol. I), 1955.
^2 jy. The Music of Ancient Egypt (ibid., Musikges/ XII, p. 153 fl), igio/'n.
vol. I), 1955- 549. FISCHER, H. W., Een rammelaar als

53 1&. The Music of Islam (ibid., vol. I), hulpmiddel bij de vischvangst ('Intern.
1955- Archiv f. Ethnogr.* XVIII, p. 179 ff.),
532. FARNSWORTH, P. R., J. C. TREMBLEY, 1908.
and C. E. BUTTON, Masculinity and 550. FISHER, MILES MARK, Negro Slave Songs
Femininity of musical phenomena ('Jour- in the United States (Cornell Univ. Press),
nal Aesth. Art. crit/ IX, No. 3, p. 257 1953-
fl), 1951. 551. FLEISCHER, OSKAR, Ein Kapitsl ver-
533. FELBER, ERWIN, Die Musik in den gleichenderMu$ikwissenschaft('Sa.mm.elld.
Marchen und Mythen der verschiedenen d. Intern. Mus. Ges/ I), 1900.
Vdlker ('Report of the 4th Congress of 55 2. Zur vergleichenden Musikforschung
the Intern. Musicol. Soc., London 1911'), (ibid. Ill), 1902.
p. 167 ff. 553- FLETCHER, ALICE CUNNINGHAM, Indian
534. Di e indische Musik der vedischen Story and Song from North America
und der klassischen Zeit ('Sitzungsber. d. (1900).
Kais. Akad. d. Wiss., Wien', Phil.-hist. 554. The Osaga Tribe ('Annual Report 1

Kl. 170 No. 7), 1912. of the Bureau of American Ethnology ,

235. Qost en West in de muziek ('De No. 36, p. 37 ff.), I9i4-*i5-
Muziek* III, p. 398 ff.),1929. 255. and FRANCIS LA FLESCHE, The
1536. Der Gesang im Orient und bei den Omaha Tribe ('Annual Report of the
Naturvolken ('Die Musik' XXII, p. 828 Bur. of Amer. Ethnology* No. 27), 1906,
fl), 1930. publ. in 1911.
FENTON, WILLIAM N., and GERTRUDE 556. FOLBES, A., Impressions of a musical
537. 1

P. KURATH, The Feast of the Dead, or journey to Africa ('Etude LXXI), 1953.
the Arab. The
Ghost Dance at Six Nations Reserve, 557. FOLEY, ROLLA, Song of
Canada (Bureau of Amer. EthnoL, Religious Ceremonies^ Shrines,
and Folk
Smithsonian Inst., Bull. 149, No. 7), Music of the Holy Land Christian Arab
Washington, 1951. (New York, 1953)-
538. and The Iroquois Eagle Dance 558. FORDE, F. VON DER, Die Musik lei den

('Bull, of the Bureau of Amer.

Ethno- Eingeborenen auf den Sudsee-Inseln
logy, Smithsonian Inst., Bull. No. 156), ('Der ErdbalT IV, p. 47 ff.), 1930-
559. Fox STRANGWAYS,
A. H., The Hindu
1953-
FERAND, ERNST TEL, The 'howlmg ^n Scale ('Sammelb. d. Intern. Musikges.*
539.
seconds' of the Lombards ('Musical IX), 1908.
* 6o. The Music of Hindostan (Oxford,
Quarterly' XXV, p.
313 fl), 1939- 5
>i e Improvisation in der Musik 1914).
Primi- Exotic Music ('Music and Letters
(Zurich, 1939), Chapter II. Die 26i.
tive, der Orient und das alte Hellas. VI, p.
5 62 .
-
The Pipes of Pan ('Music and 578. GAILHARD, A., Theatre et musique

56 3
-
Letters' X, p. 57 ^-) 1929.
East and West ('Z. i vergl. Musikw.
^ ,
modernes en Chine (Paris, 1926).
579. GALE, ALBERT,
Music (in FAY COOPER

-
.

COLE, 'The Tinguian', p. 443 ff.), 1922.

I, p. 2 ff.), 1933- _ ._ The music of Indian
The Gandkara Grama ( Journal R. 580. GALLOP, RODNEY,
5 64 .
Mexiko ('The Musical Quarterly* XXV,
Asiatic Soc.' 1935, P- 689 #)
Tne p. 210 ff.)> 1939-
565- (in G. T. GARRATT,
Oxford, 5 g!. Otomi Indian music from Mexiko
Legacy of India', p. 35
-
1937.
. Indian Music
('Grove's Dictionary' 5th
BAKE)
(rev. by A. A.
ed., vol.
('The Musical Quarterly' XXVI, p. 87
ff.), 1940.

582. GALPIN,
FRANCIS W., Aztec Influence on
Indian Instruments ('Sanx-
American
IV, p. 456 ff.), 1954-
Zur Verbreitung der melb. d. Intern. Musikges/ IV, p.
566. FOY, WILHELM, 661 ff.), ICK>2/'03-
NasmfUte {'Ethnoiogica' I, p. 239 ff.),
The Whistles and Reed Instruments
1909. 5 3^
chorusses of the American Indians of North-West
567. FRAXNOI, KAROLY, Jewish folk Coast ('Proceedings of the
Music School Libr,' I),
Musical
('Goldxnark
Association' 1903)-
Budapest, 1948.
au Thibet Notes on a Hydraulis ('The Reli-
568. FRANCKE, A. H., La musique ^g^.
LAVIGNAC, Hist, de la Mus/ V, p.
(in
quary', 1904).
5 g5 . The Sackbut ('Proc. of the Musical
3084 ff.), igo6.
Com- Association' XXXIII, p. i ff.), 1907.
569. FRANCOIS, A., Musique indigene.
me"moratioii du cinquantieme anniver- ^ g 6. Old English Instruments of Music
du Comite" specialist du Katanga
saire (London, 1910).
of Science, The origin of the clarsech or Irish
('Report of the Congress 387.
EMsabethville, Aug. 1950', VI, p. 169 ff.). harp ('Report of the Congress of the
and Intern. Mus. Soc.,
May/ June 1911').
570. FRASER, A. D. Some Eeminiscenses
ike Bagpipe (Edinburgh, undated). 5 88. The Sumerian Harp of Ur ('Music
571. FRASER, NORMAN, International
Cata- and Letters' X, p. 108 ff.), 1929.
Music (ed. by Monsieur Prin and His Trumpet
logue of recorded Folk ^89.
Unesco and the Intern. Folk Music Marine ('Music and Letters' XIV, p. 18
Council), London, Oxford Univ. Press, ff.), 1933-

571*.
Folk
1954*
-
South American (except Brazilian)
Music ('Grove's Dictionary* 5th ed.
5^0. The Music of the
immediate successors, the Babylo-
their
nians and Assyrians (Cambridge, 1937).
Sumerians and

voL III, p. 361 ff.), 1954- ^gi. A Textbook of European Musical

572. FRENCH, P. T., Catalogue of Indian
Instruments (London, 1939).
Musical Instruments (in: S. M. TAGORE, 292. Review of KATHLEEN SCHLESINGER
Hindu Music from various authors), 'The Greek Aulos' ('Music & Letters'
Calcutta, I&82. XX, p. 325 ff.), 1939-
573. FRYKLUND, DANIEL, Etymologische Stu- 592^. Babylonian Music ('Grove's Dic-
dien nber geige-gigue-jig ('Studier i tionary' 5th ed. vol. I, p. 282 ff.), 1954.
modem Sprakvetenskap' VI, p. 101 5926. Hurdy-gurdy (ibid. vol. IV, p. 415

-
ff.),

1917- ff.), 1954-

574. Studien fiber die Pochette (Sunds- 592C. Hydraulis (ibid. vol. IV, p. 423

574^8.
-
vaB, 1917).
Studier aver Marintrumpeten
fSvensk Tidskrift for ICusikforskning'
593.
ff.), 1954.
GANGOLY, ORDHENDRA COOMAR, Ragas
and raginis, a pictorial and iconograpUc
I, p. 40 ff.), 1919. study of Indian musical modes, based on
575. Fujn, SEISHHC, A buddUsmus es a zene original sources (2 vols) ., Calcutta, 1934.
(D&r BuddMsmus und die Musik] (in 594. The Birth of Melodies: an Indian
*M61anges offerts a ZOLTAN KODALY a View ('Aryan Path' VIII, p. 14 ff.), 1937.
Foccasion de son 6oieme anniversaire*, 595. Non-Aryan Contribution to Indian
p.139 ft), Budapest, 1943. Music ('Annals of the Bhandarkar
576. FURHBSS, CWFTOH JOSEPH, Communal Oriental Research Inst.' XIX, p. 263
Music among Arabians and Negroes ff.), 1938-
("The Musical Quarterly' XVI, p. 38 ff.), 596. GARAY, NARCISO, Tradiciones y cantares
1930- de Panama (1930).
577. FYZEE-RAHAMIN, ATIYA BEGUM, The 597. GARCIA, ANGELICA DE REZENDE, Nossos
music of India (London, 1925). Avo's contavam e cantavam. Ensaios
577^. GABZEKPO, SINEDZI, Making music in folcloricos e tradicoes brasileiras (Belo
Hwelamd f West African Review* XXIII, Horizonte, 1949).
p. 817 ff.), 1952. 598. GARCIA BARRIUSO, PATROCINIO, La

so
 hispano-musulmana en Mar- Folk Instruments ('Journal of the
tal

ruecos (Publ. del Inst. General Franco Intern. Folk Music Council' IV, p. 16
para
Ser.

egg. GARFIELD,
la investigation
VI, No. 4), 1941.
VIOLA E., PAUL S. WINGERT
hispano-arabe,
617.
-
ff.), 1952-
Towards an exact Transcription of
Tone-Relations

5090.
and MARIUS BARBEAU, The Tsimshian:
their arts and music (New York, 1952).
GASCUE, F., Origen de la musica popular
6170.
-
XXV, p. 80 ff.),

Jewish Folk Music ('Grove's Dic-

tionary' 5th ed., vol. Ill, p. 304 ff.),
('Acta
1953.
Musicologica*

vascongada ('Rev. intern, de Estud.

vascos', 19*3) 618. GERSONI, C., I canti popolari lettoni
600. GASTER, THEODOR
HERZL, Thespis; (Rome, 1933).
ntual, myth and drama in the ancient 6i8a. GIBLING, R. STYX, Notes on the Latin
near east (New York, 1950)- American national dances ('African Music
601. GASTOUE, AMEDEE,
L'Armdnie et son art Society Newsletter* I, No. 4, p. 32 ff.),
traditionnel ('Revue de Musicologie'

02. -
XIII, p. 194^-)'
. .
La musique
J 929.

byzantine ('La Musique

des origines a nos jours', ed. Larousse,
619. GILBERT, WILL G. f Een en ander over
negroide muziek van Suriname (Meded.
van het Kon. Inst. voor de Tropen No.

603.
p. 69 ff.), 1946-
GAVAZZI, MILOVAN, Jadranska 'Lira'
'Lirica' (Zagreb, 193) -
6 2 0. -
LV), Amsterdam, 1940.
Onderzoek naar het ontstaan van de
anhemitonische pentatonische toonladder
6o3a. GAY, R., Les 'constantes negres* dans la in verband met de spraakmelodie ('De
musique ame'ricaine ('Problemes d'Afri- Wereld der Muziek* VIII, No. 9, p. 277

-
que* VII, p. 316 ff.), 1954-
- Essai de 621. -
ff.), Juni 1942.
Muziek uit Oost en West
5Q3&. discographie negre afri-
caine (ibid. VII, p. 345 ff.), 1954*
604. GBEHO, PHILLIP, Africa's
Drums Are
More than Tom-Toms ('West African
622. -
Hague, 1942).

de
De cultuurhistorische beteekenis
marimba ('De wereld der muziek' IX,
(The

van

-
Review' XXII, p. 1150 ft), Oct. 1951.
Beat of the Master Drum (ibid. 623.
-
-
p. 344 ff.), 1943.
JRumbamuziek (The Hague, 1945).
fo^.

606^ -
XXII, p. 1263 ff.), Nov. 1951.
African Music Deserves Generous
Recognition (ibid. XXII, p. 910 ff.), Aug.
624. Buiten-Europesemuziek (The Hague,
.

GILMAN, B. I., Zuni Melodies ('Journal

607.
-The Indigenous Gold Coast Music
('United Empire' XLII, p. 121 ff.), May-
625.

626
627
-
of Amer. Archaeol. and Ethnol.' I), 1891.

- Hopi Songs
The Science
(ibid.,
of
V), 1908.
Exotic Music

608. -
June 1951.
Cross Rhythm in African Music
('West African Review' XXIII, p. u ff.),
('Science' N.S.
628 GIORGETTI, FILIBERTO, Note di musica
XXX),

(con transcrizioni musicali di

Zande
1909.

Jan. 1952. tamburi, xilofoni e canti Zande),

uccelli,

609. GEIRINGER, KARL, Vorgeschichte und Verona, 1951.

Geschichte der europaischen Laute ('Z. f. 629 . GIRONCOXJRT, GEORGES DE, La Glo-

6 10 . -
Musikw.' X), 1928.
Musical Instruments (New York,
Oxford Univ. Press, 1945)-
.
-
graphie musicale (Nancy, 1932).
Recherche de geographie musicale
dans le Sud tunesien ('La Geographic' I,
611. GENIN, AUGUSTS, Notes on the Dances,
Music, and Songs of the Ancient and
Modern Mexicans (Publ. Smitsonian
63 I p
-
No. 65 ff.), 1939.
2, p.
Motifs de chant cambodgiens ('Bull.
de la Soc. des Etudes Indocninoises',

-
Inst., 1920).
The Musical Instruments of the -
N.S. XVI no. i), 1941-
Recherches de GeograpMe musicale

-
>
612.
Ancient Mexicans ('Mexican Magazine' en Indachine (ibid. XVII no. 4), 1942.
. Recherches de Geographie musicale
III, p. 355 ff.), 1927-
GEORGIADES, THRASYBULOS, Der grucM- au Cambodge et a Jasoa (ibid. no. 3), XIX
613.
Rhythmus. Musik, Reigen, Vers und
sche 1944.
634 GLADWIN, FRANCES, An Essay
on Per-
Sprache (Hamburg, 1949).
sian Music ('New Asiatic Miscellany*
614. GERSON-KIWI, EDITH, The transcription
Music ('Communities' III, I, p. 261 ff.), 1789-
of Oriental
= 635 GOEIE, C. H. DE, De Wiri-wiri,
een
p. 181 ff.), i947/'48, 'Edoth' III,

-
4

muziekinstrument van Curasao ( West-

#1 ij.
p. 17 ff. (i947/'48).
Wedding Dances and Songs of the
Jews of Bokhara ('Journal of the Intern. 63 6, -
Indische Gids' XXIX, p.
Verwanten van de Curacaose Wiri-
15 ft), 194^-

616. -
Folk Music Council' II, p. 17 ff.), 195*
Migrations and Mutations of Orien-
XXXI, p. i&o ff ;), I95<>-
wiri (ibid.
637. GOLOUBEW, VICTOR,
Sur I'origine et la

81
 diffusion des tambours metalliques ('Pre-
Lapland ('Journal of the Intern. Folk
Mstorica Asiae OrientakV I, p. 13? #)
Music Council' VI, p. 29 ff.), 1954.
657. GRAINGER, PERCY, The impress of
1932. unwritten music ('The
OTTO, Tonarten und Stim- personality in
638. GQMBOSI,
der aniiken Musik (Kopen- Musical Quarterly' I, p. 416 ff.), 1915.
mungen Flies et chansons
658. GRANET, MARCEL,
hagen, 1939)-
Pindar's
, _ 7
'Golden
_
anciennes de la Chine (Paris, 1919); =
63 c. The melody of
Lvre* (Tlie Musical Quarterly' XXVI, p.
Festivals and Songs of Ancient China,
381 ft), 1940.
(transl. by E. D. EDWARDS), New York,
z'udien zur Tonartenlehre des fruhen 1932.
640.
MittdaMers ('Acta Musicologica* X, p. 659. GRATTAN, C. HARTLEY, The Australian
bushsongs ('The Musical Quarterly* XV,
149 ff., XI, p- 28 ff. and 128 if., XII, p.
21 ff. and 29 ff.), I938/*40. p. 426 ff.), 1929.
Music in ancient Crete and Mycenae 660. GRATTAN FLOOD, WILLIAM H., The
6^1.
Story of the Bagpipe (London, 1911).
('Bull, of the Amer.
Musicol. Soc.' VI, p.
661. GRESSMANN, H., Musik und Musikin-
25 1942.
ff.),
New Light on Ancient Greek Music strumente im Alien Testament ('Religions-
642.
('Papers Intern. Congr. of Musicol., geschichtliche Versuche und Vorarbei-
New York 1939*, p. 168 ff.), New ten' II), Giessen, 1903.

York, 1944. 662. GRIAULE, M. and G. DIETERLEN, La

643. Key, Mode, Species (' Journal of the harpe-luth des Dogon ('Journal de la Soc.
Amer. Musical. Soc/ IV, p. 20 ff.), 1951. des Africanistes' XX, p. 222), 1950.

644. GONZALES BRAVO, A., Kenas, pincoUos y 663. GRIFFITH, CHARLES E., Folk Music in
tarkas ('Estudios Latino-americanos* III, the Philippines ('Music Supervisors'
p. 25 ff.), 1937- Journal' X, p. 26 ff. and 62 ff.), 1924.
644*. GRACA, FERNANDO DO LOPEZ,
Portu- 6630. GRIFFITH, W. J., On the appreciation of
guese Folk Music ('Grove's Dictionary* African music ('Nigerian Field' XVI, p.
88 ff.), 1951-
5th ed. vol. Ill, p. 339 #) J 954-
645. GRACE, C. W., Songs and poems from 664. GRONEMAN, J., De gamelan te Jogjakarta
Aotearoa {Wellington, 1924). (1890).
646. GRADENWTTZ, PETER, The Music of 665. GROSSET, JOANNY, Inde. Histoire de la

Israel; its Rise and Growth through 5000 musique depuis I'origine jusqu'd, nos jours
LAVIGNAC, 'Hist, de la Mus'., p. 257
years (New York, 1949). (in

647. GRAEBNBR, F., Holztrommeln

des Ramu- ff.), 1907.
Distnktes auf Neu-Guinea ('Globus' 666. GROTTANELLI, VINIGI L., Asiatic in-
LXXXIV, p. 299 ff.), 1902. fluences on Somali culture ('Ethnos* XII,
648. GRAF, WALTER, Das estnische Volkslied p. 153 ff. (espec. sub VI, p. 172 ff.)),
(Vienna, 1933). 1947-
649. Ueber den dentschen Einfluss auf 667. GRUBE, W., Ueber die Musikinstru-
dm estmschm Volksgesang (diss.), Vienna mente der Katschinzen (*Z. f. Ethnol.'
1933- XXVTI, p. 616 ff.), 1895.
5^0. ZmSpi&Uecfmik und Spielweise *668. GRtJNER NIELSEN, H., Folkemusik i
won Zeremonialfl&en mm der Nordkuste Dan-mark ('Nordisk Kultur. Musikk och
Ntmgmnms f Archiv 1 Volkerk.' II, p. Musikkinstrumenter', p. 81 ff.), 1934.
87 ff.), 1947- 669. Faer0ske Folkemelodier ('Nordisk
651. Ein dednkHver Ansaiz musikeihno- Kultur. Musikk och Musikkinstrumen-
4
UguAer Fwsciwng ( Anzeiger der phiL- ter*, p. 152 ff.), 1934.
Mst. KIas d. Qesterr. Akad. d. Wis- 66ga. GUEBELS, L., African Music and the
senschaften* 1948, No. 46, p. 211 ff.). Christian outlook: 1. R. P. PEETERS, P. B,
652. Di* vmsikwissensckaftlicken Phono- Native Music and the Catholic religion"*
gramme Rudolf Pocks mm
der Nordkuste II. IDOHOXT, Indigenous and sacred music;
Neugmneas fVleaiia, 1950). N.N., Reflections of a missionary
III.
653. Ewdge Bemerkungen jw ScMUz- ('AfricanMusic Society Newsletter* I,
twmmel^Versi&ndigung in New-Guinea No. 2, p. 9 ff.), 1949.
1
fAstiaopas XL, p. S6i ff.), 1950. 670. GUILLEMIN, M., and J. DUCHESNE, Snr
654. Zwr Xndwiduatforsclmng in der asiatique de la cithare grecque
I'origine
Mmsik-Eiknologie f Knttur mid Sprache', Classique' IV), 1935.
(*L* Antiquit6
Festschrift, p. 218 ff.), 1952, *67i. GULIK, R. H. VAN, The Lore of the
655. Reprdsentant der vergleichenden Mu- Chinese Lute (Tokyo, 1940).
sitiwissmsckaft (ia: ROBERT LACH, Per- 672. Hsi K'ang and his poetical Essay on
^olichkieit mnd Werfc, zttm 80. Ge- the Lute (Tokyo, 1941).
bnristag, p. 13 ff.), Vienna.i954. 673. Brief Note on the Cheng, the Chinese
656. GRAFF, RAGNWAU>, Music of Norwegian Small Cither ('Journal of the Soc. for
 Research in Asiat. Mus/ No. 9, p. 10 690. La musique en Amtrique ('La

674.
- The Lore of the Chinese Lute.
Addenda et Corrigenda (Tokyo, 1951).
ff.),

Musique, des origines a nos jours', ed.-

Larousse, p. 465 ff.), 1946.
691. HARICH-SCHNEIDER, ETA, A survey of
6740. HABIG, J. M.,
La valeur du rythme dans theremains of Japanese Court Music
la musique bantoue ('Problemes d'Afrique
('Ethnos' 1951, p. 105 ff.).
Centrale' VII, p. 278 ff.), 1954. 692. Die Gagaku in der Musikabteilung
675. HADDON, A. C., Sound-producing In- des japanischen Kaiserhofes
('Kongress-
struments ('Reports of the Cambridge ber. D.M.G., Liineburg 1950',
1 p. 168 ff.),
Anthropol. Exped. to Torres Straits

676.
-
IV (Arts and
Crafts), p. 270 ff.), 1912.
Notes on Wooden Trumpets in New
Guinea ('Man' XVII, p. 77 ff., No. 56),
$93. Koromogae, one of the Saibara of
Japanese Court Music ('Moaumenta
Nipponica' VIII, no. 1/2, p. 398 ff.),
1917. Tokyo, 1952.
677. HADEN, R. ALLEN, Dance Music of the 694. The present Condition of Japanese
Temiar ('
Asia Magazine' XXXIX, p. 114 Court Music ('The Musical Quarterly 1

ff.), 1939- XXXIX No. i, p. 49 ff.), 1953.

678. HAGEN, KARL, Ueber die Musik einiger 5^5. The rhythmical Patterns in Gagaku
Naturvolker Melanesier, Po-
(A.u$tra,lier> andBugaku (Leyden., 1954).
lynesier) (Diss.), Hamburg, 1892, 696. HARRIS, P. G., Notes on Drums and
679. HAJEK, L.,
Das Phonogramm-Archiv der Musical Instruments seen in Sokoto
Akademie der Wissenschaften ('Z. t Province, Nigeria ('Journal of the Royal
vergl. Musikw.' I, p. 15 ff.), 1933. Anthropol. Inst. of Gr. Britain and
6790. HALSKI, CZESLAW R., Polish Folk Ireland', 1932).
Music ('Grove's Dictionary' 5th ed. vol. 697. HAUSE, H. E., Terms for Musical Instru-
Ill, p. 326 ff.), 1954. ments in the Sudanic Languages ('Suppl.
680. HANDSCHIN, JACQUES, Mennyis6g is to the Journal of the Amer. Oriental
mindseg a zeneben (QuantiU et qualite Soc/, LXVIII, No. i), Jan./March 1948,
dans la musique) (in 'Melanges offerts & No. 7.
ZOLTAN KODALY a 1'occasion de son 698. HAWLEY, Distribution of the notched
6oieme anniversaire', p. 55 ff.), Buda-

-
rattle ('American Anthropologist* XI),

68!.
532.
683.
-
pest, 1943.

- Musikgeschichte (Basel, 1948).

Der Toncharacter (Zurich, 1948).
La musique exotique (in 'Musica
1898.
*6g9. HAYDON, GLEN, Introduction to Musi-
cology (New York, 1941, 4/1950).
*7OO. HAYWOOD, CHARLES, A Bibliography
Aeterna*, vol. I, French ed., p. 129 ff.), of North American Folklore and Folksong

6830.
-
1948.

SINGER,
Review of
Greek Aulos' ('Acta
'The
KATHLEEN SCHLE- 701.
(New York, 1951).
HEEKEREN, H. R. VAN, Bronzen
trommen No. 46, p. 615
keUl-

684.
-
Musicologica' XX, p. 60 ff.), 1948.
Review of J. KTJNST, 'Music in
Java' ('Acta Musicologica' XXII, p. 156
702.
Jan. 1954.
('Orientatie*

HEERKENS, S.V.D., Father P., Lieder

der Florinesen. Sammlung 140 Florine-
ff.),

fl), 1951. sischer Lieder und 162 Texte mit Ueber-

685. HANDY, E. S. C., and J. L. WINNE, setzung aus dem Sprachgebiete der Lio-
Music in Marquesas Islands (Ber.
the nesen, Sikanesen, Ngada's und Mang-
P. Bishop Mus. Bull. XVII), Honolulu, garaier (Supplement to vol. XLVI of
1925- the 'Intern. Arch, of Ethnogr/), Leyden,
636. HARAP, Louis, Same Hellenic Ideas on *953-
HEFNY, MAHMOUD EL, Ibn Sin as Musik-
1
Music and Character ('Musical Quarterly* 703.
XXIV, p. 153 ff.), 1938. Uhre (Berlin, 1931).
687. HARCOURT, RJLOUL D*, La musique 704. Music in Egypt ('Egypt in 1945%
indienne chez anciens civilises tfAmi-
les p. 218 ff.), Calcutta, 1946.
rique. I. Les instruments de musique des 705. HEGER, FRANZ, Alte MetaUtrommeln aus
Mexicains et des Peruviens. (in LAVIG- sudost-Asien (Leipzig, 1902).
NAC, 'Hist, de la Mus/ V, HEINE-GELDERN, ROBERT VON, Bedeu-

688. -
1920.
(with the collab. of Mrs. MARGHE-
RITE D 'HARCOURT) La musique des Incas
p. 3337 ff.), 706.
tung und Herkunft der altesten Mnter-
indischen MetaUtrommeln {Kesselgonge)
('Asia Major* VIII, fasc. 3, p. 519 ff.),

689. -
et ses survivances (Paris, 1925).
L' ocarina a cinq sons dans l'Am&-
rique prthispanique ('Journal de la Soc.
707.
1932-
Trommelsprachen olme Trommeln
('Aathropos XXVIII, p. 485), 1933-
des Amencanistes' XXIII, p. 189 ff.), 708. HEINITZ, WILHELM, Musikinstrumente
1931- und Phonogramme des O$t-Mb&m~Landes

83-
 'Im Hochland Music ('The New Oxford History of
(in F, und M. THORBECKE,

-
von Mittelkameran' vol. Ill), 19*9-
Musik der Somali ('Z. f. Musikw/ 729.
Music', 3rd ed., vol. I), 1955.
HENRIQUES-URENA, PEDRO, Musica

y I0 .
-
II, p.

Ml-NnUen
257 ft), 1920.
Transcription 1
Z.
zweier
1 Musikw/
Lieder
II, p.
aus
733 730.
popular de America ('Conferencias* I), La
Plata, 1930.
HERBIG, REINHARD, Griechische Harfen

-
(

ff.), 1920. ('Mitt, des Deutschen Archaologischen

Eine lexikaKscke Ordnung fur die Inst., Athenische Abt/ LIV, p. 164 ff.),
j llf
vergkwhende BeiracMung von Melodien 1929.

7I2 .
-
('Archiv i Musikwis/ III), 1921.
Ein MatcriMeitrag zur Kenntnis
4er arabischm Musik ('Z. f. Musikw/ IV,
731. HERMANN, EDUARD, Schattsignalsprachen
in Melanesien und Afrika ('Nachrichten
d. Akad. d. Wiss. in Gottingen' 1943).

713.
-
p. 193

lese
ff,), 1922.
Mnsikalisch-dynamische
in faer&iscken
Textaus-
und faeroisch-danischen
732. HERSCHER-CLEMENT, MAD. J,, Chants
d'Abyssinie ('Z. f. vergl. Musikw.' II, p.
51 ff.), 1934-
733- Notes musicologiques. Chants indi-

-
Reigemtfinzen ('Festschriffc-PiPPiNG'),
Helsingfors, 1924.
Lied&r aus Ost-Neumecklenburg
genes de la Nouvelle Guinee (Xa Revue
Musicale' No. 173, p. 223), 1937.

-
f Z. 1 Musikw/ VII), 1925.
Vier Lieder aus Ost-Neu-Mecklen-
tmrg ('Z. f. Musikwiss/ VIII, p. 257 ff.),
734. Quelques mots sur la musique indi-
gene en Nouvelle Guinee ('L'Ethno-
graphie' No. 35/6, p. 51 ff.), 1938.

-
1926.

Hedes
Analyse sines abessinischen Harfen-
(Testechrift-MBiNHOF*, p. 263),
735. HERSKOVTTS, MELVILLE
Drummers in
Afro-Brazilian Cult-life
('The Musical Quarterly' XXX, No. 4, p.
J., Drums and

717.
-
1927.
Instmmentenkunde (in ERNST Biic-
KEN, 'Handbuch der Musikwissenschaft*
477 ff.), 1944.

culto
and R. A. WATERMAN, Musica de
Afrobahiana ('Revista de Estudios

-
vol. II, p. i ft), 1929.
Yersuch einer Analyse des Berliner
Nofenpapyrus P. 6870 ('Z. 1 Musikw/
736.
Musicales' I, No. 2, p. 65 ff.), 1949.
HERZOG, GEORG, The Yuman musical
style ("Journal of American Folklore*, vol.

-
XI, p. 222 ff.), 1929.
Analyiische Betrachtung eines mon-
48), 1928.
Musical styles in North America

- 1
g&Kschem Liedes ('Vox XVII), 1931.
Eine Melodieprobe von den Sara-
737.
('Proc. 23rd Intern. Congr. of America-
nists', New York 1928, p. 455 ff.), 1930.
720.

-
Kmba (ibid.), 1931-
Sfru&iw*prQ&leme in primiiiver Mu-
73 8. Die Musik auf Truk (in 'Ergebnisse
der Siidsee-Expedition 1908 '10*, part II,
721.

722.
-
(Hamburg, 1931).
sOt.

Die Erfassung des subjektiv-moto-

nscken Elements in der musikalischen 739.
Ethnogr. of Mikronesia, vol. V), Ham-
burg, 1932.
Onprimitive music (" Amer. Anthrop/
Prodvkfitm Primitwer ('Kongressber. der XXXIV, p. 546 ff.), 1932.
Intern. Ges. f. Musikw., Lutich 1930*, p. The collections of phonographic

723.
-
148 ff.), 1931.
Organdfogisciie Studie an den Vari^
ein&s Dronmng Dagmar-Liedes
740.

741.
records in North America and Hawaii
(
f
Z. f. vergl. Musikw/
Maricopa Music
I),
(in
1933.
L. SPIER,
f Acta Mnsicologica* III, p. 156 ff.), *Yuman tribes of the Gila River'),

724,
-
1932.
CMriimaf und TamMr-Pfamogram-
me ans Nordwesi-GuaUmala ('Vox XIX, 1
742.
Chicago, 1933.
Speechmelody and primitive music
XX, p. 452 ff.),
725.
-
p. 4 fL), 1933-
Die mrgteichmde Musikwissen-
sckaft alsImstmmmf der SHI- imd Ras-
743-
('Musical Quarterly'
1934-

and America
Recording primitive music in Africa
('Bull. Folk Song Soc.'),
senkwmde fFoE^diting^i nnd Fortschritte*

726.
-
XI), 1935.
MusUswissaachaft imd Volkerkunde
(Mittdlnngsblatt der Gesdlscnaft 1
744.
1934-
African Songs of the Chewa tribe in
British East Africa (in NANCY CUNARD,
Negro- Anthology), 1934.
Vdlkerknnde', No. 8, p- 43}, 1938. 745. Songs (of the Coast Salish) (in
727. HEINTZE, R., Ueber Batakmusik (in W. T. ADAMSON, 'Folk tales of the Coast
VOLZ, 'Die Bataklander', p. 373 ff.), Salish* ('Mem. Amer. Folkl. Soc.' XXVI,
p. 422 ff.), New York, 1934.
728. HELFRITZ, HAKS, Mmiek en Muziekbe- 746, Special song-types in North Americ-
oefening in Arabic (*De Mnziek* V, p. 145 an Indian Music ('Z. f.
vergl. Musikw/
ft), 193*- III, p. 23 ff.), 1935.
a. HENDERSON, ISOBEL, Ancient Greek Plain ghost dance and Great Basin
747.

84 -
 Music ('Amer. Anthrop.' XXXVII), du Service des Antiquit6s de 1'Egypte*
1935. XLVIII, p. 639 ff.), Cairo, 1948: I. Note
__ Research in primitive and folk music sur une harpe au Musie du Caire; II.
g
'in the United States ('Bull. No. 24 of the Sur I'accordage des instruments a cordes
Amer. Council of learned Societies'), (lyres, harpes, luths).
1936. 768. ibid., XLIX, p. 417 ff. (Cairo,
g '
.Die Musik der Karolinen-Inseln 1949): III. Sur les survivances de la
('Ergebnisse der Sudsee-ExpeditionigoS/ chironomie egyptienne dans la chant
W, Part IIB, vol. g, 2.
'Halbband' lithurgique copte; IV. Un sifjlet de
of EILERS, 'West-Carolinen'), 1936. I'epoque prehistorique; V. Note sur une
_, . A Comparison of Pueblo and Pima petite harpe en forme de b&che ou de
Musical Styles ('Journal of American pelle; VI. Quelques precurseurs dgyptiens
Folklore' XLIX, p. 286 ft), 1936. du
luth court et du luth echancre.
-00 _
- Stability of Forms in Traditional 769. Un luth inconnu de Vepoque copte
and Cultivated Music ('Papers read by ('Bull.de la Soc. d'Arche'oHe copte' XII),
members of the Musicol. Soc/ Annual 1949-
meeting 1938, P- 69 ft). 770. Music under the Pharaohs (Cairo,
_gj .
-Transcription and Analysis of 1949).
Tutelo Music (in SPECK, The Tutelo 77!. L'ftat actuel des recherches musi-

Spirit Adoption Ceremony'), Harrisburg, cologiques en Egypte ('Comrn. au IVieme

1942. Congres de la Soc. Intern, de Musicologie,
2. Research in Primitive and Folk Bale 1949').
'Music in the United States (1936). 772. En marge d'une publication par Dr.
Etats-unis d'Amerique ('Folklore Hilde Zaloscher ('"La, Semaine Egyp-
-^3.
Musical' ed. by the Intern. Inst. of tienne' XXIII), Jan. 1949.
InteUectual Cooperation, p. 85 ft), 1939. 773. L a cliquette, instrument de percus-
Investigation sobre la musica pri- sion de Vfyoque copte ('Bull, de la Soc.
754>
mitiva y folkldrica en los Estados Unidos d'Arch^ol. copte' XIII), Cairo, 1950.
Latino-Americano de Musica' Cymbales et crotales dans I''Egypte
('Boletin 774.
V,p. 393**-). 1941-
ancienne ('Annales du Service des
j2$.
A frican Influence in North A merican Antiquit6s de 1'Egypte' XLIX), Cairo,
Indian Music ('Transactions of the 1950.
Intern. Congress of Musicology, New 775 . Die kultische Verwendung der aMa-
gyptischen Trompete (*Die
Welt des
York, I939' P- 130 ff-) 1944-
Orients' V), Stuttgart, 1950.
7^6. Comparative Musicology ('Musical
Journal' IV, p. n
and 42 ff.), 1946. 776. The Rattle-drum and Marawe-
The Music of Yugoslav heroic epic sistrum ('Journal of the R. Asiatic Soc/,
757>
folk poetry ('Journal of
the Intern. Folk April, 1950)-
Music Council' III, p. 62 fl), 1951. 777. Abrdge de Vhistoire de la musique en
7 5 g.
Canon in West African xylophone Egypte ('Revue de Musicologie' XXXII,
melodies ('Journal of the American Nos. 93-94) Paris J 950- >

Musicol. Soc.' II, p. 196 ff.), 1949- 778. Ein unbekanntes agyptisches Saiten-
Review of MARIUS SCHNEIDER, A instrument aus koptischer Zeit ('Die
759 .

de Musikforschung' III), 1950-

proposito des influjo arabe: essayo
medieval Fabrikationsmarken an aMagypti-
etnografia musical de la Espafia 779,
Soc/ schen Blasinstrumenten (ibid. Ill, p. 241
('Journal of the Amer. Musicol.
IV, p. 43 fi), 1951- ff-) 1950-
t J en
Abrege de I'histoire de la mus%que
.

760. HEYMANN, Mrs. ALFRED, La gmmbarde 7g .

('Revue musicale* 1923), p. 236

ff. Egypte (transl. in Spanish) ('Boletin
761. HICKMANN, HANS, Das Portativ (Kassel, cultural, Departamento de la Prensa,

Cairo'), Cairo, 1950-

1936).
ancienne id. transl. in English (Cairo, 195)-
763. La trompette dans VEgypte 781.
observations sur la musique
Quelques
782*.
(Cairo, 1945).
instrument a cordes inconnu de
Un 'lithurgique des Copies (Communication
au Congres de Musique Sacr6e, Rome
764.
Vepoque copte ('Bull, de la Soc. d'Arch6ol.
1950).
copte' XII, p. 63 ff.), i946/'47-
Miscellanea musicologica (' Annales
765. Terminologie arabe des instruments 783.
duService des Antiquites de 1'Egypte*
de musique (Cairo, 1947). VIL Les
L, p. 523 ff.), Cairo 1950:
766. Catalogue General des AntiquiUs de Ramses III; VIII.
du Caire, Nos harpes de la tombe
igyptiennes du Mu$e*e
Deux vases siffleurs de I' Egypte ancienne;
60,201-69852; Instruments de Musique a
IX. Le fragment d'un instrument
(Cairo, 1949).
cordes.
767. Miscellanea musicologica ('Annales

-85 -
 cernant le feu de la harpe et I'emploi de la
7 g4 . Miscellanea egyptologica ('Journal
chironomie dans I'Egypte pharaonique
of the Galpin Soc.* I), London, 1951. Intern. Mus. Ges. 1952',
7g5 . Ueber den Stand der musikwissen-
sckaftlichm Forschung
in Aegypten
fKongressber. des IV. Kongress
Intern. Ges. 1 Musikw/), Kassel, 195*-
der g 07> -
('Kongressber.
p. 263 ff.), 1953-
Die Anfange eines geordneten Mu-
siklebens im Aegypten der Pharaonen
(Communication Intern. Congress, Vien-
7 g6. Miscellanea musicologica ('Annales
du Service des Antiquites de 1'Egypte'
II, P- 3i7 *f. (C3*1 i95i): X.
"
Le tarn-
iwmrin rectangulaire du Nouvel Empire.
8 8. -
na i7-24th May, 1952), Vienna, 1953.

et la
Quelques considerations sur la danse
musique de danse dans 1'Egypte
pharaonique ('Cahier d'histoire e*gyp-
7g 7 .

7 gg.
Le grelot dans 1'Egypte andenne
(Cairo, 195*)-
Die aMesten Musikernamen (Mu-
V, p. 89 ff.), 1951-
sica'
809.
-
tiennes' V, p. 161 ff.), Cairo, 1953.
Les harpes de I'Egypte pharaonique
(Essai d'une nouvelle classification) ('Bull.
de rinstitut d'Egypte*, XXXV, p. 309
7gg. Classement et classification des
flutes, clanneUes
et kauibois de I'Egypfe

tmcienm fChroniqne d'Egypte' XXVI,

No. 51, p. 17 ft). I95i-
8 x o. -
ff.), Cairo, 1953-
Miscellanea musicologica
du Service des Antiquity's de TEgypte'
(
f
Annales

Nate on an Egyptian wind instru- LIII), Cairo, 1953: XII. La scene musi-
79o.
cole d'une tombe de la Vlieme dynastie &
ment ('Journal of the Intern. Folk Music
Council* III, p. 108 ff.), 195 *
Guizah (Idou); XIII. Note sur un objet
en d'instrument de
La casiagnette tgyptimne {* Annales forme percussion;
79I .

dn Service des Antiquit6s de 1'Egypte

LI), Cairo 1951.
Arabische Musik with
(in collab.
1

8 t i. -
XIV. Une nouvelle cymbalette a manche.
Review of MAX WEGNER, 'Die
Musikinstrumente des Alten Orient'
792.
ALEXIS CHOTTIN) ('Die Musik in Ge-
schiehte und Gegenwart' I, col. 577),
1951.
Musik
812. -
(1950) ('Orientalische Literaturzeitung*
1954, Nos I / 2 > P- 34)--

Dieux et d&esses de la musique

('Cahiers d'Histoire Egyptienne' VI, p.

-
(ibid., col. 92
793 .
Aegyptische
31 ff.), March 1954.
ft). 1951-
Musik (ibid., col. 105 8i2#. Fidel I. Orientalische Vorldufer
yg4 .
AetkiopisckG
und Verwandte ('Die Musik in Ge-
ff.), 1951-
schichte und Gegenwart* IV,
col. 156
Afnkmd&che Musik (ibid., col.
7g5f

7^6.
ft), 1951-

ff.),
Armmische Musik
1951-
(ibid. col.
123

654 8126. -
1954. .)-
Flotencharakter und -formen ('Die
Musik in Geschichte und Gegenwart'
797. musiden au temps des
Le ine&er de IV, col. 319 ft), 1954.
Phe^mms f Cahiers d'histoire egyptien- 813. HIPKINS, ALFRED JAMES, Old Keyboard
nes* IV, 2), Cairo, 1952.
-
Instruments (1887).
Musical Instruments, historic, rare
798. Miscdlanea musicalogica ('Annales
dn Service des Antiqnite*s de 1'Egypte'
III, p. 161 ft), Cairo, 1952: XI. Les
hiffts anx fre&es dn Nowel Empire.
Sj;^.

815.
-
and unique (London, 1888, 2/1945).
A Description and History of the
Pianoforte and Older Keybord Stringed
7^.
goo.
Das Ha^fenspid im alien Aegypten
{'Die Muakforschung' V, p. 21 ff.), 1952.
TM antique cross-flute (*Acta Musi-
816. -
Instruments (1896).

.
Dorian and Phrygian (1903).
HODEIR, A., Prolongements de la musi-
cologka* XXTV, p. 108 ff.), 1952. que africaine ('Problemes d'Afrique
801 .
Qudques observations sur la musique Centrale* VII, p. 286 ff.), 1954.
l^m^qwe des Copies d'Egypte fAtti del 8i6&. HONDA YASXJJI, The Nembutu-melody
Congre^o Intern, di Mnmca Sacra, of the Traditional Songs ('Journal of the
Roma 1950*), Tomraay, 1952. Soc. for Research in Asiatic Music', No.
4
802. La d^abomkak ( Boll. de Tlnst. 12-13, English Section, p. 8 ff.), Tokyo,
d'Egypte* XXXIII, p. 229 ff.), Cairo, Sept. 1954.
1952. *8i7. HOOD, MANTLE, The Nuclear Theme as &
803. La mttsiqne polypkonique dans Determinant of Pafet in Javanese Music
1'Egypte andenne (ibid. XXXIV, p. 229 (diss., Groningen, 1954).
ft). 1952. 818. HOOGT, I. M. VAN DER, The Vedic Chans^
804, Le jeu de la "harpe dans 1'Egypte (1929). }
andenne ('Archiv Orientalnf' Nos. XX 819. GOOSE, HARNED PETTUS, Peking Pige<mi
3-4, p. 449 ff.), Prague, 1952. and Pigeon-Flutes (Peiping, olf
ColL
*
805- TMe Egyptian Uffatak' Flute ('Jour- Chin. Studies, California CoU. in China^i
f

nal of the R. Asiatic Soc.* Oct. 1952). 1938)- "

806. Qnelques nauveaux documents con- 820. HORNBOSTEL, ERICH M. VON, and

86
 ABRAHAM, OTTO, Tonsystem und Musik 'Planet* 1906-1907' vol. V,
der Japaner ('Sammelbande der Intern.
Musikgesellschaft' IV), 1903, reprinted -
logie und Ethnographic),
Anthropo-
1909.

821.
in 'Sammelbande
Musikwissenschaft' I,
~ an<-^
fiir vergleichende
p. 179 ff.), 1922.
Ueber die Bedeutung des
835

836.
- Wanyamwezi-Gesange ('Anthropos'
IV), 1909.
and STUMPF, CARL,
gleichende akustische und musikpsycholo-
Ueber ver-

Phonographen fur vergleichende Musik- gische Untersuchungen (in C. STUMPF,

wissenschaft ('Zeitschrift f. Ethnologic' 'Beitrage zur Akustik und Musikwissen-
VOl. 36, p. 222 ft), 1904. schaft', vol. IV-VI, p. 145 ff.), 1910.
g 224
.
.
and Phonographierte Turki- 837. HORNBOSTEL, ERICH M. VON, Ueber Mehr-
sche Melodien (ibid. vol. 36), 1904, stimmigkeit in der Aussereurop&ischen
reprinted in 'Sammelb. f. Musikw/ Musik 'Kongressbericht der Intern.

g2 g
I,p.233fi, (1922).
_ and
Phonographierte Indische
-

Melodien {'Sammelb. der Intern. Musik-

vergl.

838.
- (in
Mus. Ges., Wien 1910').
Wasukuma-Melodie ('Extrait du
Bull, de 1'Academie des Sciences de
in 'Sammelb. 1 Cracovie, Classe des Sciences mathe*mati-
ges/ V), 1904, reprinted
vergl. Musikw.' I, p, 251 ff.), 1922. ques et naturelles*, S&rie B. Sciences
824. HORNBOSTEL,
ERICH M. VON, MelodiscHet
Tanz ('Z. d. Intern. Musikgesellschaft'
V, fasc. 12), 1904.
839.
-
naturelles), 1910.

west
Ueber einige Panpfeifen aus nord-
Brasilien (in THEODOR KOCH-
Die Probleme der GR^NBERG, Zwei unter den

- Jahre
,
g2^ vergleichenden
Musikwissenschaft (*Z. der Intern. Mu- Indianern, vol. II, Berlin 1910).
sikg/ I9<>5 3)- 840. and STUMPF, CARL, Ueber die
g2 6 t Ueber den gegenwartigen Stand der Bedeutung ethnologischer Untersuchungen
vergleichenden Musikwissenschaft ('Kon- fur die Psychologie und Aesthetik der
gressbericht der Intern. Musikges., Basel
Tonkunst (in 'Bericht iiber den 4.
1906'). Kongress f. experimentelle Psychologie*,
g2y t
and ABRAHAM, OTTO, "Ueber die Innsbruck, 1910, vol. IV, p. 256 ff.),
Harmonisierbarkeit exotischer Melodien 1911.
('Sammelb. der Intern. Mus. Ges/ VII), 841. HORNBOSTEL, ERICH M. VON, Ueber ein
1906. akustisches Kriterium fur Kulturzusam-
andPhonographierte Indianer- menhdnge ('Z. f. Ethnologic' 1911, p. 601
828.
melodien aus Britisch-Columbia ('BOAS
Anniversary Vol.' New York, 1906),
reprinted in 'Sammelb. f. vergl. MusOcw/
842.
-
ft).
Notizen uber kirgisische Musikin-
strumente und Melodien (in R. KARUTZ,
*Unter Kirgisen und Turkmenen', Leipzig
829.
I, p. 291 ff. (1922).

HORNBOSTEL, ERICH M. VON, Phonogra-

phierte Tunesische Melodien ('Sammelb.
Intern. Mus. Ges.' VIII, 1907),
843.
-
1911).
Musikpsychologische Bemerkungen
Vogelgesang (*Z. d. Intern. Mus.
uber
der
reprinted in 'Sammelb. f. vergl. Musikw.'
-
Ges/ XII), 1911.
U.S. A, National Music (*Z. der
830.
I, 311 ff. (1922).
p.
Notiz uber die Musik der Bewohner
von Sud-Neu-Mechlenburg (in E. STE-
PHAN und F. GRAEBNER, Neu-Mecklen-
844.

845.
-
Intern. Mus. Ges/ XII), 1911.

figlio,
Review of ALLESSANDRO KRAUS
Appunti sulla Musica dei Popoli
burg, Berlin, 1907), reprinted in 'Sam- Nordici, 1907 ('Anthropos' VI, p. 231),
melb. f. vergl. Musikw.' I, p. 349 ff.
-
1911.
Musik der Naturvolker ('Meyer's
831.
(1922).
Ueber das Tonsystem und die Musik
der Melanesier ('Kongressber. der In-
846.

-
Grosses Konservationslexikon'), 1912.
Arbeit und Musik ('Z. cL Intern.

832.
tern. Musikges., Basel 1906', p. 60),
1907.
Ueber die Musik der Kubu (in B.
847.

848.
-
Mus. Ges/ XIII, p. 341
and KARL THEODOR PREUSS, Zwei
Gesange der Cora Indianer (in K. TH.
HAGEN, 'Die Orang-Kubu auf Sumatra', PREUSS, 'DieNayarit-Expedition.' vol. I,
Frankfurt a/M., 1908), reprinted in p. 367 fl), 1912.
'Sammelb. f. vergl. Musikw.' I, p. 359 849. HORNBOSTEL, ERICH
M. VON, Die Musik
ff.
(1922). auf den nordwestlichen Salomo-Inseln (in
HORNBOSTEL, ERICH M. VON, and ABRA- EL THURNWALD, Salomo-Inseln und Bis-
833.
HAM, OTTO, Vorschlage zur Transcription
Melodien ('Sammelb. der -
marck-Archipel, vol. I, p. 461 fl), 1912.
Melodie und Skala ('Jahrbuch
exotischer
Intern. Mus. Ges/ XI), 1909.
834. HORNBOSTEL, ERICH M. VON, Phonogra-
phierte Melodien aus Madagaskar
und
850.

851.
-
Peters 1913', p. ff.)- n
and CURT SACHS, Systematik der
Musikinstrumente ('Z. f. Ethnologic'
Indonesien (in 'Forschungsreise S.M.S. XLVI, p. 553 #)>

-87
852. HORNBOSTEL, ERICH M. VON, Die Musik
Pangwe {in G. TESSMANN, Die
871
-
. American Negro Songs (review),
('The Intern. Review of Missions' XV
der
Pangwe, vol. II, p. 320 ff.), 1914.
Bermrkungen uber einige Liefer aus
- No. 60), 1926. .

Laut und Sinn ('Festschrift-MEiN-

8 53 872
-
.
.

Bougainville (in FRIZZI, Ein Beitrag zur HOP'), 1927.

Musikalische Tonsysteme
Etknologie von Bougainville und Buka, 873 (in GEI-
.

GER und SCHEEL, 'Handbuch der Physik',

g^4.
1914).
Gesange aus Ruanda (in 'Wissen-
Ergebnisse der deutschen Zen-
- vol. VIII, p. 425 ff.), 1927.
Ethnologisches zu Jazz ('Melos' VI),
schaftl. 874.

-
.

tral-Afrika-Expedition 1907-1908*, vol. 1927.

VI, ist. Part, Ethnographic und Anthro- 875. . Review of WALTER KAUDERN,
'Musical Instruments in Celebes', Gote-
pologie I, edited by JAN CZEKANOWSKI),
borg, 1927 ('Ethnologische Anzeiger II),
3^5.
1917.
,
Musik und
Mwsikinstrumente
('Deutsches Kolonial-Lexikon* vol. II),
1919.
- 1927.
Review of FRITZ BREHMER, *Melo-
dieauffassung
J
und melodische Begabung
gxj6, communication about the
First des Kindes ('Z. f. angewandte Psycho-
Theory of blown fifths ('Anthropos' logic* 1927, Beiheft 36) ('Deutsche Lrte-
XIV-XV, p. 569 ff.), 1919-
Ch'ao-t'ien-tee, eine chinesische No- - raturzeitung* XLVIII, p.
African Negro Music ('Africa*
220 ff.), 1927.
g^y.
Mion und ikre
Ausfuhrungen ('Fest-
schrift-STUHPF* p. 477 ff.), 1919.
Formanalysen an siamesischen Or-
877

878 - I no. i),

an
1928.
Musik des Orients (Commentary to
album of exotic records, edited
vol.

g^g.
cJtestersinckm ('Archivf. Musikw.' 1920),
p. 306 ff.
Musikalischer Exotismus
1
- CARL LINDSTROM A.G.,), 1928.
Die Maassnorm als kulturhistori-
sches Forschungsmittel (' Festschrift-WIL-
by

859.

050,
1921, fasc. g).
DOS Exotische in der modemen
('Melos

ggo. - HELM SCHMIDT, p. 303 ff.), 1928.

Tonart und Ethos ('Festschriffc-

861.
Musik Aesthetik und allgemeine
('Z. f.
Knnstwissenschaft* XIX), 1925.
Eine Tafel zur Logarithmischen
ggj. - JOHANNES WOLF' p. 73 ff.), 1929.
Review of CHARLES W. MEAD, 'The
Musical Instruments of the Incas'
Darstellung von ZaMenverhaltnissen ('Z.

862.
1 Physik* VI, p. 29 ff.), 1921.
Translation of A. J. ELLIS, 'On the 882. - fEthnol. Anzeiger' II, p. 72 ff.), I929/
'32-
Gestaltpsychologisches zur Stilkritik
1
Musical Scales of Various Nations (*Sam-
melbande f. vergl. Musikmss/ I p. i ff.),
Munchen, 1922.
ggg,
-
('Festschrift-GuiDO ADLER'), 1930.
Musik des Orients auf der Schatt-
-platte ('Kultur und Schallplatte', Berhn,
Mnsik der Makuschi, Taulipang 1931 and 'Die Musik' XXIII, p. 829
863.
tmd Yekwna (in THEQJ>OR KOCH-
GR^NBERG, Vom Roroima zum Orinoco,
vol. Ill, p. 395
884. -
ff.), 1931.
Ueber Verschiebung der Tonhohe
XXI, 100
1923.

-
ff.), ('Z. f. Laryngologie' p. ff.),
86^ Review of KURT HUBER, 'Der Aus-
dmck musikalischer Elementarmotive', 885. Review of WALTER ,

Leipzig, 1923) ('Deutsche Literaturzei- 'Volkerkunde im Lichte vergleichender

86 5
tung* 1926).
. Die EnisteJmmg des Jodelns ('Be-
richt Musikw. Kongress, Basel
203 ff.
1924'), p. 886. -
Musikwissenschaft', (Reichenberg, 1931)
('Baessler Archiv* XV, p. 55 ff.), 1932.
Review of ANDREAS ECKARDT,
'Koreanische Musik' (Leipzig 1930) ('Ori-
856. GesckuMe des Pkonag-ramm-Archivs entaUsche literaturzeitung* 1931, No.
der Staaaicfam Hochsckule fur Musik in
Berlin (1925). Review of KANETUNE-KIYOSKE
887.
867. Review of R. et M. B'HARCOURT, and SYIOTI TXJDI, 'Die geschichtKche
,

TLa musique des Incas et ses survivances* Denkmaler der japanischen Tonkunsf ,
Paris, 1925) f Anthropos* XX), Abt. I, Hofmusik, Heft i, Saibara ('Z.
868.

869.
Die Musik der Semai auf Medakka
f Anthropos' XXI, p. 277), 1926.
and OTTO ABRAHAM, Zur Psycho-
1925.

g88. -
f. Musikwiss/ XIV,
p. 235 ff.), 1932.
Zum Kongress fur arabische Musik,
Kairo 1932 ('Z. f. vergl. Musikw/ I, p.
logie der Tondis&mz ('Z. f.
und Physiologic
98), 1926.
Psychologic
dear Sinnesorgane* vol gSg. -
16 ff.), 1933.
Carl Stumpf und die vergleichende

870. HORNBOSTEL, ERICH M. VON, Psycho-

lagie der Gehorserscheinungen
der Physiologie* XI, p. 701
('Handbuch
ff.), 1926.
890. -
Musikwissenschaft ('Z. f. vergl. Musikw.'
I, p. 25 ff.), 1933.
Review of P. G. HARRIS, 'Notes on
Drums and Musical Instruments seen in

88
 Sokoto Province, Nigeria* ('Journal of I'lnst. indochin. pour T6tude de Thom-
the Royal Anthropological Inst. of Gr. me' II, fasc. i, p. 135 fl), 1939.
Britain and Ireland' 1932) ('Z. 1 vergl. 911. HUART, CL., Etude biographique sur trois
-
Musikw.'
The
I,p. 63 ft), 1933.
Ethnology of African
Instruments ('Africa' VI, p. 129 ff. and
Sound
912.
musiciens arabes ('Journal Asiatique* 8th
series, No. 3, p. 141 fl), 1884.
Musique persane (in LAVIGNAC,
277 fl), 1933- Hist, de la Mus/ V, p. 3065 ff.), undated
Das Berliner Phonogrammarchiv (but before 1922).
892.

- vergl. Musikw/ I, p. 40 fl), 1933.

(*Z. f.
Phonographierte islandische Zwiege-
sdnge ('Deutsche Islandforschung 1930',
913. HUBERS, Father HUBERT, Kleine musik-
ethnologische Beitrdge von der Insel
Karkar in Neu-Guinea ('Anthropos'
p. 300 ff.), Breslau, 1933. XXXVII, p. 122 fl), i942/* 45.
894.
and ROBERT LACHMANN, Asia- 914. HUBNER, HERBERT, Studien zur Musik
tische Parallelen zur Berbermusik ('Z. f. im Bismarck-Archipel
vergl.

bei
and -
Musikw/ I, p. 4 ff.), 1933.
Das indische Tonsystem
Bharata und sein Ursprung ('Z. f.
9! 5.
XXX, p.
j)^g
(Berlin, 1938).
669 ff.), 1935.
('Anthropos'

Musik im Bismarck-Archipel

vergl. Musikw.' I, p. 73 ff.), 1933. 916. HUCHZERMEYER, HELMUT, Aulos Und

896. HORNBOSTEL, ERICH M. VON, Review of Kithara (Diss., Minister, 1931).
HELEN H. ROBERTS, 'Form in Primitive 91 6a. HUDEC, CONSTANTIN, Slovac Folk Music
Music* (New York, f. ('Grove's Dictionary' 5th ed. vol. Ill,

-
Musikw.' and 39), 1934.
II, p. 60 ff.
1933)

Review of HEINZ WIESCHHOFF, 'Die

afrikanischen Tromrneln und ihre ausser-
('Z. vergl.
p. 355 fl), 1954-
917. HULTKRANTZ, ARE, Some Notes on the
Arapaho Sun Dance (*Ethnos* XVII, p.
afrikanischen Beziehungen* (in 'Studien 24 fl), 1952.
zur Kulturkunde* ed. by L. FROBENIUS, 918. HUMBERT SAUVAGEOT, Mrs. M., La
1933 ('Z. f. vergl. Musikw.' Ill,
vol. II), musique a travers la me laotienne (*Z. f.
88 fl), 1935-
p. vergl. Musikw/ II, p.
14 ff.), 1934.
93. Fuegian Songs ('American Anthro- 9!9. Quelques aspects de la vie et de la
pologist', New Series, vol. 38, p. 357 fl), musique dahomeennes (ibid. II, p. 76 ff.),
1936. 1934-
899.
_ The Music of the Fuegians ('Ethnos' 920. HURSTON, ZORA, Dance songs and games
1948, p. 6ifl). from the Bahamas ('Journal of Amer.
900. HORNBURG, FRIEDRICH, Die Musik der Folklore' XLIII, p. 294 ff.), 1930.
Tiv ('Die Musikforschung' 47 921. HUSMANN, HEINRICH, Marimba, und
-
I, p. ff.),

1948- Sansa der Sambesikulfur ('Z. 1 Ethno-

901. Phonographierte afrikanische Mehr- logie' vol. 68, p. 14
ff.), 1936.

stimmigkeit (ibid. Ill, p. 120 fl), 1950. 922 . Sieben afrikanische Tonleitern (* Jahr-
902. HOUSTON, JOHN, Aotea (chants and buch der Musikbibliothek Peters', 1937).
songs) ('Journal of the Polynesian Soc/ 923. Olympos, die Anf&nge der griechi-
XLIV, p. 36 ff.), 1935* schen Enharmonik (*Jahrb. der Musik-
903. HOUSTON-PERET, ELSIE, Chants popu- bibl. Peters' 1937, p. 29 ff.).
du Bresil ('Bibl. mus. du Muse de
laires 924. Funf- und siebenstettige Centstafeln
la Parole et du Muse> Guimet', ist zur Berechnung musikalischer Intervalle
series, vol. I), Paris, 1930. (Ley den, 1951).
904. HOWARD, ALBERT H., The aulos or tibia 925. Afghanistan ('Die Musik in Ge-
('Harvard Studies of Philology' IV), 1893. schichte und Gegenwart' I, col. 121 ff.),
905. HQWELER, CASPER, Rhythme in Vers en 1951-
Muziek (Den Haag, 1952). 926. Das neuentdeckte SteinzeUlitkophon
906. HOWES, FRANK, Anthropology and Music ('Die Musikforschung* V, p. 47 ff.) I95 2 -
('Man' XLV, p. 107 fl (no. 83)), Sept./ 927. Ursprung und Entwicklung der

907.
-
Oct. 1945.
Man, Mind and Music, Studies in
the philosophy of music and in the
Tonsy steme (in preparation).
928. HUTCHINGS, ARTHUR, Music in Bengal
('Music and Letters' XXVII, p. 26 ff.),
relations of the art to anthropology, I94 6 -

Indian classical and

psychology and sociology (London, 1948). 929. traditions,
908. HOWITT, A. W., Songs and songmakers popular ('Music & Letters' XXVII, p.
of some Australian tribes ('Anthrop. 29 ff.), 1946.
Ost-
Journal* XVI, p. 327). 930. HUTH, ARNO, Die Musikinstrumente
909. HSIAO, SHU HSIEN, La chanson populaire Turkestans (Diss., Berlin, 1928).
der
chinoise ('Sinologica' I, p. 65 fl), I947- 931. IDELSOHN, A. Z., Die Maqamen
910. HUARD, PAUL, Les instruments de musi- arabischen Musik ('Sammelbande der
que chez Us Unong ('Bull, et travaux de Intern. Mus. Ges/ XV, p. n ff.), 1913-

-8 9 -
93 2. Phonographierte Gesdnge und Aus- 951. JANUS, CAROLUS, Musici scriptores
Graeci. Supplementum, melodiarum reli-
sprachpfoben des Hebr&ischen der jemeni-
tischenund persischen Juden (19*4)* quiae (Leipzig, 1899).
g33 , Hebr&isch-Onentalischer Melodien- 952. JASIM UDDIN, Folk Music of East
schatz (Leipzig, 1914 and following years) . Pakistan ('Journal of the Intern. Folk
Phonographierte Gesdnge und Aus~
Music Council' III, p. 41 ff.), 1951.
93^.
spracksproben des Hebr&ischen der jeme- 953- JEANNIN, Dom
J., Melodies lithurgiques
nitischen, persischen und syrischen Juden syriennes et chaldSennes (2 vols.) (1926
(Vienna, 1917).
and '28).
Parallelm. zwischen gregorianischen 954. L'Octoechos syrien ('Oriens Chris-
933,
nnd hebraisch-orwntalischen Sangesweisen tianus* new series, III, p. 82 ff. and 277 f.).
fZ. 1 Mnsikw/ 1921). 955. JENNESS, D., Eskimo music in Northern
936, Jswish music (in) its historical Alaska ('The Musical Quarterly' VIII,
development (New York, 1929, 2/1948). p. 377 ff.), 1922.
937, DW j&dische Tempelgesang (in 956. JOEST, W., Malayische Lieder und Tanze
GUIDO ABLER* 'Handbuch der Musik- aus Ambon und den Uliase
(Molukken)
gesch.' I, p. 149 ft), 2/1929. ('Intern. Archiv f.
Ethnogr.* V, p. i ff.) }

938. Die Maqamen in der hebrdischen 1892.

Poesw der orientalischen Juden ('Monat- 956^. JOHN, J. T., Village music of Sierra
schr. 1 d. Wissenschaft des Judentums* Leone ('West African Review* XXIII,
LVXI,p. 3 i 4 fi). p. 1043 ff.), 1952-
939, The Features of the Jewish Sacred 957. JOHNSON, ORME, Musical instruments of
Folk Song in Eastern Europe ('Acta ancient Hawaii ('The Musical Quarterly 1

Mnsicologica* IV, p. 17 ft), 1932. XXV, p. 498 ff.), !939.

940. Parallels between the Old-French 958. JONES, A. M,, African Music in Northern
and the Jewish Song ('Acta Musicologica* Rhodesia and some other places (Rhodes-
V, p. 26 ff. and VI, p. 15 ff.), I933?34* Livingstone Museum Occasional Paper
941. ISAMITT, C,, Cnatro instruments musi- No. II, combined with a previous Essay
cales araucanos ('Estudios Latino-ameri- on African Music in 'African Studies'),
canos' III, p. 55 ff.), 193 7- undated.
942. ISAWA, SH., Collection of Koto Music 959- African Music: the Mganda Dance
(Tokyo, 1888 and 1913). ('African Studies' Dec. 1945, p. 180 ff.).
943. IYER, T, L. VENKATARAMA, The scheme 0. What in a smile? (in 'Newsletter of
of 72 melas in Camatic Music ('The the African Music Soc.' I no. 3, p. 13 ff.),
Journal of the Music Academy' XI, p. 1950.
So ff.), 1940. 961. Report on a lecture on 'African
*944. IZIKOWITZ, KARL
GTISTAV, Musical and Music* given to the Bulawayo Music
other Somid-inskruments of the South Club in Sept. 1950 (ibid. I no. 3, p. 16
Am&rwem Indians (Goteborg, 1927). ff.), 1950-
945- L* tambowr b membrane au Perou 962. Hymns for the African (ibid. I no. 3,
CJomnal de la Soc. des Americanistes* p. 8 ff.), 1950.
XXIII, p. 163 ff.). 1931. 963. Blue Notes and Hot Rhythm (ibid. I
9^5, j^s instruments de musique des no. 4, p. 9 ff.), 1951.
Indiens Uro~CMpaya ('Revista de Inst. 964. collab. with L. KOMBE) The
(in
de Etnologia* II, p. 263 ff.), 1932. Icila Dance Old the
Style (publ. by
947- JACKSON, WILFRID, SheU-trumpets and African Music Soc., 1952).
ihmr distribution in the Old and New 965. Folk Music in Africa ('Journal of
world ^Memoirs of the Manchester the Intern. Folk Music Council' V, p. 36
literary Soc/ LX, fasc. 8), 1916. -). 1953.
94^- JAMKOVIC, BAOTCA S., 40 Serbian dance 9 66. African Rhythm ('Africa' XXIV, p.
melodies (Beograd, 1937). 26 ff.), 1954.
949. and LJXJBICA JANKOVIC, Danses 967. JONES, WILLIAM, On the musical modes
popnlaires, voi I-VI (Beograd, 1934- of the Hindus ('Asiatic Researches' III,
1951), with a summary in French. p. 55 ff.), 1792 (reprinted in S. M.
949- Narodne Igre (Beograd, 1949). TAGORE, 'Hindu Music*, p. 123 ff.),
950. JANSKY, HERBERT, Volksgesange von Calcutta, 1882, (vide below No. 1761).
Vm&m Rnsdands. II. TurMatarische 968. JONG LSN., J. L. DE, De Noardske Balke
VoMer: ka^ntatarische, mischarische,
(Assen, 1942).
me$t$ibiri$ch~tatarische,nagaitatarische, 969. JTJNGBLUT, Magic Songs of the Bhils of
turkmenische, Mrgisische und tscherkes- Jhabua State C. I. ('Intern. Archiv f.
sisck-tatarische Gesange
('Sitzmigsber. d, Ethnogr/ XLIII, p. i ff.), 1943.
oesterr. Akad. d. Wiss/, Phil.-hist.
970- JURJANS, A., Lettische Volkslieder (Riga,
Klasse, voL 227, No. 4), Vienna, 1952. 1885).

90
 KANAI, KIKOKTT, Ryukyu no Minyo 983. KIRBY, PERCIVAL R., Oldtime chants of
a
the Ryukyu Islands) (Tokyo the Mpumuza chiefs ('Bantu Studies' II),
'(Folksongs of
1923-
KARASTOYANOV, A., Melodichni i har- 984. Some problems of primitive har-
0706.
monichni osnovi na bulgarskata
narodna mony and polyphony, with special ref-
erence to Bantu practice ('South African
pessen (Sofia,, 1950)-
KARPELES,MAUD, and ARNOLD A. BAKE, Journal of Science' XXIII), 1926.
'Manual for Folk Music Collectors (1951). 9 8j. A Study of Negro harmony ('Musical
_
English Folk Music ('Grove's Quarterly' XVI), New York 1930.
a
Dictionary of Music and Musicians', 5th 986. The Gora and its Bantu successors

ed. vol. Ill, p. 227 ff.), 1954- ('Bantu Studies' V), 1931.
vol. I The mystery of the great Gomgom
Mib Kashmiri Musiqi (sa, ri, ga, ma), 987.
(Teacher's Training College, Srinagar, ('South African Journal of Science*
undated). XXVIII), 1931.
MIC. KATAOKA, GIDO, On
Shakujo ('Journal 988. The recognition and -practical use of
of the Soc. for Research
in Asiatic theharmonics of stretched strings by the
Music', No. 12-13, English Section, p.
6 Bantu of South Africa ('Bantu Studies*
ff.), Tokyo, Sept.
1954. VI), 1932.
072.' KATE, TEN, The musical bow in Formosa 989. The music and musical instruments
('American Anthropologist' V), 1903. of the Korana (ibid. p. 163 ff .), 1932.
o72fl. KATZAROVA-KOUKOUDOVA, R., Bui- 99o. The drums of the Zulu ('South
Folk Music ('Grove's Dictionary'
'garian African Journal of Science* XXIX, p.
201 ff.), 1954-
5th ed. vol. Ill, p. 655 ff.), 1932.
973. KATZENELENBOGEN,
XL, Anthology of 99I . The reed-flute ensembles of South
Lithuanian and Latvian Folksongs (Chi- Africa ('Journal of the R. Anthrop.
cago, 1935)- .
Inst.' XIII), 1933-
974. KAUDERN, WALTER, Musical Instru-
99 2. Musical origins in the light of the
ments in Celebes ('Ethnographical Studies musical practices of the Bushmen, Hot-
in Celebes' III), Goteborg, 1927. tentot and Bantu ('Proc. of the Mus.
KAUFMANN, WALTER, Folksongs of the
075 Association'), Leeds, 1933.
Gond and Baiga ('Musical Quarterly' 993 . The ethnology of African sound
XXVII, p. 280 ff.), 1941- instruments. A
communication on the
076. KEH, CHUNG SIK,
Die koreanische Musik early history of the mbila
in Africa.
('Samml. musikw. Abhandl., Strassburg', ('Bantu Studies* VII), 1934.
994 . The effect of Western civilization
977. KENNEDY, KEITH, The ancient four-note
upon Bantu music (in: I. SCHAPERA,
musical scale of the Maoris ('Mankind' I, 'Western civilization and the Natives of
p. ii ff.), 1931- South Africa*), London, 1934.
97 8.
The music system of the Fijians The Musical Instruments of the
00 ej.
r 93i-
(ibid. p. 37 **). Native Races of South Africa (Oxford/
979 . The drums of Mbau (ibid., p. 219
London, J934)-
ff-) *934-
99 6. The principle of stratification as
KIDSON, FRANK, Manx Folk Music native music
9790.
ed. vol. Ill, applied to South African
('Grove's Dictionary' 5th ('South African Journal
of Science'

Die Musik der

XXXII, p. 72 ff.), 1935-
KIESEWETTER, R. G.,
A and
further note on the Gora
980. its
Araber (Leipzig, 1842). 997 .

Bantu successors ('Bantu Studies* IX),

The Analysis
9800. KIMOTSTJKI, KANEKAZTT,
of the Soc. for 1935-
of Sound-wave ('Journal The principle of stratification as
Research in Asiatic Music No. 12-13,
1
99 8.
,
Native Music
n Tokyo, Sept. applied to South African
English Section, p. ff.), of Science*
*
('South African Journal
XXXII), 1935- _
KINGSLAKE, BRIAN, The Art of 'the
.
,
9806.
999 The musical practices of the l?Aum
Yoruba ('African Music Society News-
.

"and ^Khomani Bushmen ('Bantu

letter' I, No. 4, p. 13 ) I95i-
Further Notes of
Studies' J
p. 373)> 936. X .

981, KINGSLEY, VICTORIA, I000 A

of Bushman Music
Study
the Illustrated Talk on Folk Music of
.
"
the
X, p. 205 ff.), 1936-
('Bantu Studies'
West ('The Journal of the Music Aca- XXIX
100I Indigenous Music (Chapter
.

demy, Madras' XXII, p. 83 ff.), *95i- of ELLEN HELLMAN, assisted by

LEAH
relations
982. KINKELDEY, OTTO, Changing
ABRAHAMS, 'Handbook of Race Rela-
within the field of musicology ('Proc.
tions in South Africa'), 1949-
Music Teacher's National Ass/ LX, p..
A note on the shipatopaU of the
I002 .

246 ff.).

9I
 Tonga {'South
XXXV,
African Journal of I022 .
- Notes sur la musique persane
('Guide Musical' IV, p. 283 ff., 307 ff.
I003.
Science'

and
The Trumpets
p. 361
of
ff.) f

their successors ('Journ. of the R.

Anthrop. lust, of Great Britain and
1938.
Tut-Ankh-Amen
.
-
327 ff. and 347 ff.), 1909.
Notes sur la musique indo-chinoise
('Rivista musicale Italiana' XVI, p. 833
f

and XVII, p. 415 ff., 428 ff.), 1909

-
ff.
Ireland" 1950, p. 33).
A secret musical instrument: the and 1910.
2004.
ek&la of ike Ova&uanyama of Ovamboland . La Musique dans Reeducation
chinoise ('Mercure de France' LXXXIII,
Journal of Science*

2005.
('South African
XXXVIII, p. 345 ff.), 1942.
Bantu ('Die Musik in Geschichte
und Gegenwart' I, col. 1219 ff.), 1951.
-
p, 757 ff.), 1910.
Rapport sur une mission officielle
d' etude musicale en Indochine (Leyden,

I0o6. Buschmamn- und HaMentoUmmu- 1911).

sik (ibid. II, col. 501 ff.), 1952. 1026. La musique des Indiens de I'Amerique
Science and Music ('South-African du Nord (in LAVIGNAC, 'Histoire de la
1007.
Oct. Musique* V, p. 3333 undated (but
Journal of Science' LI, p. 67
IQ54-
Primitive Music ('Grove's
ff,),

_
Dic- -
before 1922).
Les Tziganes
ff.),

2646
sooya.
tionary* sth ed., vol. VI, p. 921 ff.),i954-
2008. KISHIBE, SHIGEO, On the Origin of the
P*i~p'a ('Transactions of the Asiatic
1027.

1028. -
1922.
Le prdbUme de
('Rivista Musicale Italiana'
(ibid.,

la
p.

musique exotique
XXXII,
ff.),

1009.
Sec. of Japan*, 2nd ser. vol. XIX, p.
259 ff-). 1940-
The Character of the Shi-pu-chi,
io28flf. -
566 ff.), 1925-
Notes sur la musique persane
('Guide musicale' 1909, pp. 307 ff.,
p.

*tk& Tm Kinds of Music" of the Tang 327ff. and 347 ff.).

Dynasty ('Journal of the Soc. for 1029. KOHL, Louis VON, Tonende Amtsem-
Research in Asiatic Music', No. 9, p. bleme. Zur Entwicklungsgeschichte der
8 w.} 1951, chinesischen Musik ('Sinica' VII, p. 5
1010. Emigration of Musicians from ff.), 1932-
Central Asia to China and Diffusion of 1030. KOHLBACH, B., Das Widderhorn ('Z.
Western Music in China ('Annales of des Ver. f. Volksk.' XV, p. 113 ff.), 1916.
the lust, of History, Faculty of General 1031. KOLINSKI, MIECZYSLAW, Die Musik
Caltere, Tokyo Univ.' No. i), 1953. der Primitwstamme auf Malakka und
ion. KUER, KARL, Die -oolkstumliche Quer- ihre Beziehungen zur samoanischen
pfnfe ('Das Deutsche Volkslied' XXV), Musik ('Anthropos' XXV,

1012.
1923.
Volkstuitdicke Querfloten
Mm^rommel (* Kongressber. der
Beet-
und die -
1930.
Suriname Music
F. S. HERSKOVITS, 'Suriname Folklore',
(in
p. 588 ff.),

M. J. and

bovea-ZeBtenarfeier* Vienna, 1927, p. New York, 1936).

375 &). IO 33- Musica de Culto Afrobahiano
1013. 250 Jafare Mauttrommelmacher- ('Revista de Estudios Musicales' I, No.
mMoKm f Tagespost*, Linz, No. 2, p. 65 ff.), Mendoza, Argentina, Dec.

1014.
znnft
226), 29/IX, 1929.
New AnMinng
(Vienna, 1931).
mm Schwegeln 1034.
-
1949-
La musica del Oeste Africano.
Musica Europea y extraeuropea ('Re-
1025. KLOSB, H., Musik, Tanz und Spiel in vista de Estudios Musicales' I, No. 2, p.
T@g ('G&tras' 89), 1911.
1016. KMOSP, GASTON, La Birmanie (in
LAVIGHAC, 'Hist, de la Musique*, p.
1034^.
-
191 ff.), Mendoza, Argentina, 1949.
Die Musik Westafrikas (deposited
at the Dept. of Anthropology of North-

1017.
3094 ff.), 1906.
Hisfoire de la musique dans
Vlmio-Ckine (ibid., p. 3100 ft), 1907.
10346.
ment.
-
western University)

A
The
.

structure of melodic move-

new method of analysis (in
1018. Ueber amuamKscke Musik ('Sam- preparation).
meib. der Intern. Husikges,* VIII, p. 1034^ KOLLER, OSWALD, Die Musik im Lichte
137 ff.), i906-'oy. der Darwinischen Theorie ('Jahrb. der
1019. Les ties Canaries (in LAVIGNAC, musikbibl. Peters' VII, p. 35 fl), 1901.
'Hist. delalCusaque', p. 3234 ff.), 1908.
1035. KOLLMANN, Floten und Pfeifen aus Alt-
1020. Les Ooirfs d'amow dans la musi- Mexico ('BASTIAN Festschrift'), 1896.
r
%me oment&le ( Mercure Musical', IV, p. 1036. KOMITAS, La musique rustique arme-
768 ff.), 1908. nienne ('Revue Musicale Mensuelle'
102 1.

ff.)
Notes sw la taUalwe cUnoise
('Revue Musicale de Lyon' VI, p. 785
1909-
1037.
-
1907, p. 472 ff.).
Armenische Dorfslieder
(2 vols.).
(Leipzig,
 KONIG-BEYER, WALTER, Volkerkunde 581 ff.; XXII, p. 513 fi), Sarajevo,
J03 g.

-
ff.,
im Lichte vergleichender Musikwissen- resp. 1906, 1907, 1909 and 1910.
schaft (Reichenberg, 1931). 3:056. Einiges fiber das istro-dalmatini-
1039-
KOOLE, AREND, Report on an inquiry sche Lied ('Ber. 3. Kongress d. Intern.
into the music and instruments of the Musikges.' 1909, p. 271 fl).
Basutos in Basutoland ('Kongressbe- 1057. KtaNERT, F., Zur Kenntniss der chine-
richt Intern. Ges. f. Musikwissenschaft, Musik ('Wiener Zeitschr. fur die
sischen
Utrecht 1952', p. 263 ft), 1953. Kunde des Morgenlandes* XIV, p. 126
10390-
KRAELING, CARL H., and LUCETTE
MOWRY, Music in
Oxford History of Music', 3rd
the Bible ("The New
ed., vol.
-
fl), 1900.
Bestehen Beziehungen zwischen chi-
und ungarischer Musik? ('Ke-
nesischer
I), 1955- Szemle' III, p. i fl), 1902.
leti

1040. KRAUSE, EDUARD, Trommeln aus vorge- 1059. KUNIKE, Musikinstrumente aus dem
schichtlicher Zeit ('2. 1 Ethnologic* alien Michoacan ('Baessler Archiv' II),
XXIV, p. (97) -). I8 92. 1911.
1041- KRAUSS, AL., Di alguni strumenti *io6o. KUNST, JAAP, Terschellinger Volks-
musicali della Micronesia e della Mela- leven (ist. ed. 1914; 2nd and 3rd. ed.
nesia regalati al Museo Nazionale d'an-
tropologia e di etnologia dal dott. Otto
Finsch ('Archivio per I'Anthropologia e
1 06 1. -
The Hague, 1938 and 1950).
Het levende lied van Nederland
(ist. ed. I9i8/'i9; 4th. ed. Amsterdam,
la
1887.
Etnologia, Florence' XVII, p. 35 fl),

KREMENLIEV, BORIS A., Bulgarian-

I0 62. -
1948).

De
and KUNST-VAN WELY,
toonkunst van Bali (Weltevreden,
C. J. A.,

1042.

1043.
Macedonian Folk Music (Berkeley/
Los Angeles, 1952).
KRISHNA RAO, H. P., The Psychology of
1063. - -
1925)-
and
('Tijdschrift
De
v.h.
toonkunst van Bali II
Kon. Bataviaasch
1
Music (Mysore, 1916). Genootschap LXV, p. 369 w.), 1925.
1044.
The Psychology of Music (Ban- *io64. KUNST, JAAP, (in collab. with R.
GORIS), Hindoe-Javaansche muziekin-
1045.

1046.
galore, 1923)-
KROHN, ILMARI, Geistliche Melodien
('Suomen Kansan Savelmia' I), 1898.
Welches ist die beste Methode, um
1065.
-
strumenten (Weltevreden, 1927).
Over eenige Hindoe-J avaansche
muxiekinstrumenten ('Tijdschrift v.h.
Volks- und volksmdssige Lieder nach Kon. Bataviaasch Genootschap'
ihrer melodischen
Beschaffenheit lexi-
kalisch zu ordnen ('Z. d. Intern. Musik- 10 66. -
LXVIII, p. 347 fl), 1929.
Een overwalsche bloedverwant van
den Javaanschen gamelan
I047 .
ges/ IV, p. i fl), I902/'o3.
Weltliche
Kansan Savelmia*
Melodien

Tanzmelodien (ibid. III).

II), 1904.
('Suomen
3:067.
-
Oud & Nieuw' XIV, p. 79
De
ff.),

I'origine des echelles musicales

javano-balinaises ('Journal of the Siam
1929,

joS.

.
Mongolische Melodien (*Z. 1 Mu-
sikw/ III, p. 65 ff.), 1920.
Melodien der Permier ('Me*m.. de
* I0 68. -
Soc/ XXIII, p. in ff.), 1929-
A Study on Papuan Music
(Bandung, 1930).
la Soc. Finno-Ugrienne' LVIII), Hel- Songs of N&rth New-Guinea (Publ.
No. 2 of the Neth.-Indian Musicological
.
sinki, 1929.
j)i e finnische Volksmusik (*Ber.
Finnlandkunde', Greifs- -
Archives'), 1931.
Oude W estersche Uederen uit Oos-
a.d. Inst.
wald, 1935).
f.

Mtfdszertani kerddsek az osszeha-

3:070.

* -
tersche landen
j) e
(Bandung, 1934)-
toonkunst van Java (2 vols),
.

sonlitd
der
nfydalkutatdsban (Zur Methode
vergleichenden Volksmelodienfor-
schung) (in 'Melanges offerts & ZOLTAN
I07I .

3:072.
-
The Hague,
1934.
Musicological Exploration in the
Indian Archipelago ('The Asiatic Re-
KOD^LY a
Toccasion de son 6oieme
97 if.), Budapest, 1943.
anniversaire', p.
1053. KRUYT, ALBERT C., De fluit in Indo-
.
-
view* October 1936)-
A
musicological argument for cul-
tural relationship between Indonesia
nesie ('Tijdschrift van het Bataviaasch probably the Isle of Java
and
Gen/ LXXVIII, p. 246 ff.), 1938. Central Africa ('Proc. of the Musical
KUBA, LUDVIK, Slovanstvo ve svych Association*, Session LXII), 1936,
1054.
Ein musikologischer Beweis fur
zpevech (Prague, 1884-1929).
1055. Pjesmei napjeviiz Bosne i Herce- Kulturzusammenhange zwischen Indo-
vermuthch Java und Zentral-
govine ('Glasnik Zemaljskog Muzeja u
nesien
Bosni i Hercegovine' XVIII, 183 ff., Afrika ('Anthropos' XXXI, p. 131 ff.).

354 ff., 499 ff.; ibid. XIX, p. 103 ff., 1936.

ff ., ibid. XXI, p. 303 ij den dood van Erich von Horn-
273 ff ., 405 629 ff. ;

93
 van Ned. by the late Dr. B. J. O. SCHRIEKE),
hostel ('Orgaan der Federatie p.
194 ff. (1948)-
Toonkimsteiiaarsvereenigingeii', Jan.
=
Zum Tode Erich von Horn- Around Von Hornbostel's theory
!9 3 6)
bostels ('Anthropos* XXXII, p. 239 of the cycle of blown fifths (Publ. LXXVI

107 5.
.
-
ff.),

ike
1937.
New
Light on the early History of
('Indian Art and
Malay Archipelago
1095.
of the
A
R. Tropical

gong ('Ethnos' 1947, p. 79

Inst.), 1948.
hypothesis about the origin of the
ff. and
147).

.
-
Letters* XII, p. 99 &)> ^tf*
Music in Nias (Leyden, i93 8 )-
In Memoriam Robert Lachmann
IOg6. The Music of Bali and its emotional
appeal ('Britain and Holland* 1949).
Sundanese Music ('Art and Let-

-
.

ters': India and Pakistan' New Series

('Cultured Indie' I, p. 298), 1939-
. Em
onbekend Javaansch muziek- vol. XXII no. 2, p. 54 ff.), 1949.

instrummt ('Cultureel Indie' I, p. 140 1098 The cultural background of Indo-

.
- .), 1939-
Een merkwaardig blaasinstrument:
de Maleische duwenlokfluit (ibid. II, p.
nesian Music (Publ. LXXXII of the R.
Tropical Inst.; Amsterdam), 1949.
Music in Java, its History, it$

1080. -
47 ff.), 1940-
Indonesische muztek en Gouverne-
mentszoyg ('Kroniek voor Kunst
en 1 1 00.
Theory and its Technique (2 vols.), The
Hague, 1949.
La Musique indonesienne ('Revue

1081. -
Knltaur' V, p. 243 ff.), I94<>-
Review of CLAUDIE MARCEL-
DUBOIS, *Les instruments de musique IIOI.
du Monde Nouveau* 1950, No. i, p. 86

Metre, Rhythm and Multipart

de I'lnde ancienne* ('Cultureel Indie* Music (Leyden, 1950).

* 1082. -
IV, p. 226 ff.), 1942.
waardeering van exotische
De
muziek in den loop der eeuwen (inau-
1102. Muziek en Dans in Westelijk
Nieuw-Guinea (Publ. XCIII of the R.
Tropical Inst., Amsterdam), 1950.

1083.
-
gural oration) (The Hague, 1942)-
Music in Flores, a Study of the
meal and instrumental Music among
1103. Die 2000-j&hrige Geschichte Sud-
Sumatras gespiegelt in ihrer Musik
('Kongress-Bericht, Liineburg 1950'),
ike Trfaes living in Flores (Leyden, 1951.

-
1942).
Barabudur-luiten met stemmen
IIO4. In Memoriam Dr. Ernest Diamant
('Mens en Melodie' VII, p. 60 ff.),
1084.

*io$5. -
('Cultured Indie' V, p. 30) 1943.
Een em ander over de muziek en
den dans op de Kei-eilanden (Public.
,

1105.
1952.
Nederlandse Volksdansen ('Pro-
gram of the National FolMoristic
LXIV of the Royal Tropical Institute, Festival, Hengelo, i7th Aug. 1952'),

z 086. -
Amsterdam), 1945.
Het lot dev Javaansche gamelans 1 1 06.
p. 18 ff.
Sociologische bindingen in de mu-

1087.
-
("Indonesia' 8th Sept. 1945).
Review of F. BALTAZAUD SOL-
VIJNS, *Les Hindous* {'Cultureel Indie*
ziek
1953)-
(inaugural oration)

Begdja the
(The Hague,

gamelan boy t a Story

1088. -
VII, p. 197 ff.), 1945.
Muziek en Dans in de Buitenge-
(PnbL LXVTI of the R. Tropical
the Isle of
tions
Java with musical illustra-
by the Study Group for Gamelan
Music 'Babar Layar' (L. P. record No*
of

1089. -
Inst., Amsterdam), 1946.
Een nomsm op Indonesisck muziek-
f Cultured Indie* VII, p. 200
1108
00165 L, made by Philips), 1953.
Kulturhistorische Beziehungen zwi-
schen dem Balkan und Indonesien
= Ifoosch en Melodic* (Publ. CIII of the R. Tropical Inst,

1090. -
ff.},

23
1945
ff., (1946).
mnzikale
I, p.
Amsterdam), 1953.
Gamelan Music ('Kongressbericht

- Teylers prijsvraag .

flfieoBcfa & 1
Melodie I, p. 19 ff.), 1946. Intern. Mus. Ges., Utrecht 1952*, p.
3091. Walter Spies flls mmicm ('Cnltu-

1092, -
reel Indig*

Zendmg
De
VHI, 25 ff .), 1946.
p.
Imkeemsdte muziek en de
(PubL LXXII of the R.
.
271 ff.), 1953.
Een en ander
volksliederen ('Mens
over auteursrecht op
en Melodie* IX, p.

1093. -
Tropical Inst), 1947.

tific
Aftmcofogy ('Report om the Scien-
Work done in the Netherlands on
.
15 ff.), 1954.
Alexander John Ellis (*Die Musik
in Geschichte und Gegenwart* vol. Ill,
col. 1284 ff.), 1954.
behalf of the Dutch Overseas Territories n 1 2. Cultural Relations between the Bal-
dmring the period between approxi- kans and Indonesia (Publ. CVII of the
mately 1918 and 1943*, F11^1- by the Royal Tropical Inst., Amsterdam) ,1954.
Werkgemeenschap van Wetensch. or- 1113 Flores ('M.G.G.* vol. IV, col. 415
ganisaties in Nederland, and compiled ff.), 1954.

94
 -
-
- Gamelan (ibid. vol. IV), 1955. 1128. The Musical Significance of ar-
III4-
III5
IJX 6
- Gong (ibid. vol. IV), 1955.
Hindu-Javanische Musik (ibid.
vol. V), 1956.
chaic Chinese Jades of the Pi Disc Type
('Artibus Asiae' XVI fasc. 1-2, p. 25
ft), 1953-
ni ^ Java (ibid. vol. V), 1956. 1 129. Nochmals: die Steinzeit-Lithophone
1118. KURATH, GERTRUDE P., Iroquois mid- von Annam ('Die Musikforschung' VI,
winter medicine rites (' Journal of the p. i fl), 1953.
Intern. Folk Music Council' III, p. 96 1130. Der stroboskopische Frequenzmes-

1119.
-
ft),
- I95i.
Local Diversity in Iroquois Music
and Dance (in WILLIAM FENTON, 'Sym-
1131. Ktrxz,
ser (ibid. VI, p. 235 fl), 1953.
ADALBERT, Musikgeschichte und
Tonsystematik (Berlin, 1943).
posium on Local Diversity in Iroquois 1132. LABOURET, HENRI, Langage tambouring
Cultus' ('Bull, of the Bureau of Amer. et siffU ('Bull, du Comite" d*e~tudes hist,

II2a -
Ethnology' No. 149, p. 109 fl), 1951.
Syncopated Therapy ('Midwest
et scientifiques deTA.O.F/ 1923, p. 120

-
Folklore' I, p. 179 fl), 1951.
Therapeutic Dance Rhythms ('Dan-
ft).
1133. LACK, ROBERT, Natur- und orientali-
sche Kulturvolker ('Studien zur Ent-
ji2i.

II2 2.
-
ce Observer', Oct. 1952, p. 117 fl).
An
Analysis of the Iroquois Eagle
Dance and Songs ('Bull, of the Bureau
wicklungsgeschichte der ornamentalen
Melopoie.
1
Beitrage zur Geschichte der
Melodie p. 93 fl), Leipzig, 1913.
,

of Amer. Ethnology' No. 156, p. 223 Dw

Einfluss des Orients auf die

ji23.
-
ft), 1953.
The Tutelo Harvest Rite: a musical
and choreographic analysis ('Scientific
1134.
Musik des Abendlandes ('Oesterr. Mo-
natschrift fiir den Orient' XL, p. 327

II24>
-
Monthly' LXXVI, p.
The Tutelo Fourth Night
Release Singing
153 fl), 1953.
Spirit
('Midwest Folklore' IV,
1135.
ft), 1914-
Orientalistik undvergleichende
sikwissenschaft ('Wiener Zeitschrift fiir
die Kunde des Morgenlandes' XXIX,
Mu-

87 Bloomington, Indiana Univ., fl), Vienna, 1916.

463

1124*1.
-
p.
1954)-
fl),

Rhythms of
('Journal of Health, Phys. Education
Work and Play
1136.
p.
J2&S Kadenz- und Klauselproblem
in der vergUichenden Musikwissenschaft
1 d. oesterr. Gymn/, LXVII, p. 601

-
and Recreation' IX, p. 5 fl), 1938.
Los Concheros ('Journal Ameri-
(*Z.
1916.
ff.),
Vorlaufiger Bericht uber die im
112$.

11246.
-
can Folklore* LIX, p. 234 ft), 1946.
LosArrierosofAcopilco ('Western
Folklore' VI, p. 3 fl), 1947.
1137.
Auftrage der kais. Akad. d. Wiss.
erfolgte Aufnahme der Gesange russischer
Kriefsgefangener im August und Sep-
Bronze Ceremonials ('Journal of tember igi6 (46. Mitteilung der Phono-
Health, Phys. Education and Recrea- gi^uonni-arcMv-Kommission der Akad.

-
tion' XIX, p. 4 fl), 1948.
Mexican Moriscas LXII,
d. Wiss.), 1917.
id. in 1917 Mitteilung der

-
11245. (ibid. (47.
p. 244 fl), 1949.
Akad. d. Wiss.), 1918.
II24/. The Feast of the Dead ('Bull, of Die Musik der turk-tatarischen,
the Bureau of Amer. Ethnology* No. finnisch-ugrischen und Kaukasusvalker
149), 1951.
in ihrer entwicklungsge&cUMlichen und
Matriarchal Dances of the Iro- psychologischen Bedeutung fur die Ent-
quois ('Proc. Intern. Congress of Ameri- stehung der musikalischen Formen (*Mit-

H24&. -
canists' 1952).
Chippewa Sacred Songs in Reli-
gious Metamorphosis ('Scientific Month-
teil.

50, p. 23
der Anthropol. Ges., Wien', vol.
ff.), 1920.
Das Phonationsproblem in der ver-

-
.

ly' LXXIX, p. 5 ft). 1954- gleichenden Musikwissenschaft ('Wiener

Modem Ottawa Dancers ('Mid- MedizinischeWocheitschrift*, 1920, Nos.
1124*.
west Folklore* V, p. i fl), 1955. 16, 18 and 19: pp. 74~75 2 837-840
1125. KUROSAWA, TAKATOMO, The Musical and 881-884).
Bow of the Bunun Tribe in Formosa and . Eine Studie uber Vogelgesang
('Musikalischer Kurier* II, p.
22 ft),
suggestion as to the Origin of the Pen-
tatonic Scale ('Journal of the Soc. f. Vienna, 1920.
Research in Asiatic Music* No. 10-11, II42. Musik im Islam fDer Amftakt* I,

p. 2 fl), Dec. 1952. p. 282Prag, I920/'2i.

ff.) r

1126. KURTH, E., Musikpsychohgie (I93 1 )- JI43 , Das Problem des SprachmeUs
1127. KUTTNER, FRITZ A., Die verborgenen ('Wiener Medmnische Wc<^enschrift*,
Beziehungen zwischen Sprache und 1922, No. 27, p. 1173 ff.)-
Musik, am Beispiel Chinas) II44 , Musik in Chma ('Der Auftakt' III
(dargestellt
('Musica* V, p. 13 fl), p. 35 ff.), Prag, 1922.

95
1 145. - Musik der Japaner (ibid. II, p. Volker , 2nd section: Baschkirische

1146. -
167 ff.), Prag, 1922,
Die Musik Ostasiens ('Faust', vol.
Gesange (ibid. vol. 218),
Finnisch-ugrische Volker, 4th section:
1939; id. part I.

1147.
-
1922, fasc. 8, p. 26 ff.).
Der Orient in der altesten abend-
landischen Musikgeschichfe ('Ber. des 1 1 60. -
Tschuwaschische Gesange (ibid. vol. 218),
194-
Georgische Gesdnge ('Anzeiger der
Klasse der Akad.
Forschiingsinstitutes for Osten und phil.-hist. d. Wis-

1148.
-
Orient* III).
Der Ursprung der
Lickte des Tiergesangs ('Wiener Medi-
Musik im
1161.
sensch. in Wien' vol. LXIII, p. 13 ff^

-
1926.
Tscheremissische Gesange
zinische Wochensdirift', 1923, Nos. 28
and 1307-1310 and 1401- 1162. -
vol. LXIII, p. 138
Mingrelische,
(ibid
ff.),1926.
abchasische, svani-

1149.
- 30/31, p.
1406).
Das RassenproHem in der ver-
sche

-
und ossetische
LXIII, p. 140 ft), 1926.
Mordwinische Gesange
Gesange (ibid., vol.

vol
gleickendm Mnsikwissenschaft ('Berich-
te des Forscliiingsinstitntes fiir Osten
und Orient' III, p. 107-122), Vienna
1163.

1164.
-
LXIII, p. 145 ff.), 1926.
Vergleichende Sprach- und Musik-
(ibid.,

U50. -1923.
Zvr GesckicMz des musikaliscnen
d. Wiss. zu Wien,
wissenschaft ('PAUL KRETSCHMER-Fest-

-
schrift', p. 128 ff.), 1926.
Die Musik der Inkas ('Der Auf-
Zmmftmsens (Akad.
Pail.-Mst,

-
Klasse, Sitzungsber., vol.
1165.

1 1 66. -
takt' VI, p. 124 fi), Prag, 1926.
Die Musik der Inkas ('Der Zn-
1151.
199). *923-
Der Orient in der aUest&n abend-
landisckem MusikgeschicMe (*Ber. d.
1 Osten u. Orient' III,
-
schauer' 1925/26, fasc. 8, p. 6 ff.).
Review of R. et M. D'HARCOURT,
'La musique des Incas et ses survivan-

1152.
-
Forsciitingsinst.
p. 162 ff.), Vienna, 1923.
Du Musik der Natur- und orien-
Miscken KuUurvdlker (in Gumo ABLER, 1 1 68.
ces*

- ('Mitteil.
Wien' LVII,
der Anthropol. Ges. in
p. 73 ff.), i926/ 27.
Review of R. et M. D'HARCOURT,
J

*HandbBch der Musigeschichte* vol. *La musique des Incas et ses survivances'

1 153. -
I), 1924, 2/1930.
Das Komstmktionsprinzip der Wie~
derk&lnmg in Musik, Sprache und 1169. -
('Z. f. Musikw.' IX, p. 240

Die physiologischen Urtypen der

fl), Leipzig,

LOfratur (Akad. d. Wiss. in Wien, musikalischen Formen ('Wiener Medi-

PfaiL-Mst, KL Sitzungsber. No. zinische Wochenschrift' LXXVII, col.

-
201,

1154.
-
Bd. 2),
Das
1925.
musikaliscke Konstruktwns-
primdp der a&mexiktmischen Tempel-
jjyo
15 ff.),
j)i &
1927.
vergleichende
schaft ('Forschungen und Fortschritte'
Musikwissen-

ges&nge ("JOHANNES WoLF-Festschrift'

- 88 ff. -
III, p. 210 ff.), Berlin, 1927.
JKaukasische Volksgesdnge (ibid.
1155.
1929), p.
Die mergUichende Musikwissen-
sckaft, ikre Metkoden und Problems
{Akad. d. Wiss. in Wien, PhiL-hist.
1171.

1172.
-
IV, p. 43 ff.), 1928.
Musikalische Ethnographie ('Mit-
teil. der Antkrop. Ges. in Wien' LX,

J2 ^6. -
Klasse,, Sitnmgsber., vol. 200), 1924,
VergMc&mde Kumst- und Musik-
p. 356 fi), 1930-
LACHMANN, ROBERT, Die Musik in den

1157.
-
mmssmsska/t {Md. vol. 201), 1925.
Ges&nge russiscker Kriegsgefange-
n&rt part I, fmmsch^tgrische Volker,
1173.

ny^.
tunesischen Stadten ('Archiv f. Musikw/

-
V), 1923.
in grundlegendes Werk uber die
ist section: moijaMscke, syrjaniscke und Musik Indiens ('Archiv f. Musikw.' VI,
pmm&feiscke GesSnge
1926; id.
(ibid. vol. 203),
part III^ Kau&asusvotiier, ist
section: GeorgtsGhe Gesange (ibid. vol.
1175.
-
p. 484 fl), 1924.
Musik und Tonschrift
('Proc. Musicol. Congress, Leipzig,
der No

204), 1928; id. part I, finniscJi-ngriscke

Vclktsr, 3rd section: Tscheremissische
GesSmge (ibid, voLao4), 1929; id. part
1176.
-
I 925\ P- 80 fl), 1925.
Zur aussereuropdischen Mekr-
stimmigkeit (Beethoven Festival, Vien-
June

II, Turk-ta&mscke Volk&r, ist action:

IZnmfaiariscke G&sange (ibid. vol. 211),
1930; M. paxt III, Km&kasusudlker, 2nd
1177.
-
na 1927; Kongressbericht, p. 321 ff.).
Ostturkestanische Gesange (in A.
VON LECOQ, 'Von Land und Leuten in
section: Mingreliscke, abchasi&che, sva-
niscke nnd ossetiscke Ges&nge (ibid. voL

- 1178. -
Ostturkestan'), 1928.
Die Weise vom Lowen und
Nomos
der

1158. Finniscfa-ugnscke Valk&r, 2nd sec-

tion: Mordwiniscks Ges&nge
205), 1933; id. part II,
(ibid. vol. 1179. -
pythische
NES WOLF*,

mann's
Musik
('Festscririft-JoHAN-
p. 97 ff.), 1929.
des Orients (Breslau, Jeder-
Biicherei, 1929).

-96-
 '
. _ - Die Musik der aussereuropaischen 1198. Over onze kennis der Javaansche
Natur- und Rulturvolker (in BROKEN, muziek (Introduction to J. GRONEMAN,
1

'Handbuch der Musikwissenschaft'), 'De gamelan te Jogjakarta ), 1890.

Tonschriftversuche und Melodien-
^
'
1929.
_
_ . Musikalische Forschungsaufgaben proben aus dem muhammedanischen
im Vorderen Orient ('Bericht liber die Mittelalter ('Vierteljahrschr. f. Musikw.'
i. Sitzung der Ges. zur Erforschung der vol. 2), 1886, reprinted in 'Sammel-
Musik des Orients am 27. April 1930' bande f. vergl. Musikw.' I, p. 77 ff.,

__ _
p. 3 ff.),
Berlin, 1930.
Von der Kunstmusik des vorderen
und 1
1200. LARA,
(1922).
M. DE, and ESCOBAR, M. L.,
Ritmo y melodia nativos de Venezuela
Orients ('Kultur Schallplatte II,
*93i- ('Estudios Latino-americanos' III, p.
_ 164Asiatische
p. ff.).
. Parallelen zur Berber- 121 ff.), 1937-
musik (m collab. with E. VON HORN- i2Ooa. and Los instrumentos musi-
f. vergl. Musikw.' I, p. 4 cales aborigenes y criollos de la Argentina
BOSTEL) ('Z.

.
- -
ff.). 1933
Das indische Tonsystem bei Bha-
rata und sein Ursprung (in collab. with
(Buenos Aires, undated).
1201. LAUNIS, ARMAS, Lappische Juoikosme-
lodien (Helsinki, 1908).
E. VON HORNBOSTEL) (ibid., I, p. 73 I2 o2. Ueber Art, Entstehung und Ver-

gc -..
Die Vina und das indische Tansy-
-
- breitung der estnisch-finnischen
melodien (Helsinki, 1910).
Runen-

-
j;i t

stem bei Bharata (ibid. II, p. 57 ff.), 1934- Runen ('Suomen Kansan Savel-
n g6 Musiksysteme und Musikauffas-
. mia' VI), 1910 and 1930.

-
'

Pentatonik in den Melodien der

sung (ibid. Ill, p. i ff.). 1935*
jjgy, Mu'staqbil al-musiqa l-'arabijja Lappen (Akad. d. Wiss. in Wien, PhH.-
XVI, vol. I p. 17 hist. Klasse, Sitzungsber. vol. ??),
('Al Kullijja l-'arabijja'

n gg. -
fi),

Isle
1935-
Jewish Cantilation and Song in the
of Djerba ('Archives of Oriental
1206.
.
19??.
LAXTON, P. B., and TE KAUTU KAMO-
RIKI, 'Ruoia', a Gilbertese Dance ('The
Music*, The Hebrew Univ., Jerusalem, Journal of the Polynesian Soc." LXII,

n 8g. _
1940).
and A. H. Fox STRANGWAYS
Muhammedan Music ('Grove's Dic-
1207.
p. 57 ff.), March 1953.
LEDEN, CHRISTIAN, Musik und Tdnze
der gronlandischen Eskimos ("L, i
tionary of Music' 4th ed., vol. Ill, p. Ethnologic* XLIII), 1911.
I20 8. Musikethnologische Gronlandexpe-
575 ff .), London, 1940,
et danses cam- dition ('Z. der Intern. Musikges/ XII,
1190. LALOY, Louis, Musique
370 1910.
bodgiennes ('Mercure Musical' 1906, p. p. ff.),

1191 .
-
98 ff.).
Notes sur la musique cambod-
gienne ('Ber. iiber den
2. Kongress der
Ueber die Musik der Smith Sund
Eskimos und ihre Verwandtschaft mit
der Musik der amerikanischen Indianer
Intern. Musikges. zu Basel'), Leipzig, (Copenhagen, 1952).

119 2.
-
1907, p. 6iff.

- La musique
Hoat-Ndn
chinoise
Tze
.

et
m
(Paris,
la
.

1910).
musique
1210. LEHMANN-NITSCHE, ROBERT, Patago-
nische Gesange und Musikbogm ('An-
thropos' III, p. 916 fl), 1908.
IJ93

-
.

XV, 121 1. LEHTISALO, T., Beobachtungen Ober die

('T'oung Pao' p. 501 ff.),1914-
Seura
1194. La Musique et les philosophes Jodler ('Suomalais-Ugrilaisen
chinois ('Revue Musicale' VI, p. 132
Aikakausk' XLVIII, No. 2, p. i ff.),

1937- .
ff.), 1925.
.
,

Recherches sur rhistoire 1212. LEROUX, CH., La musique Oasstque

1195. LAND, J. P. N.|
de la gamme arabe ('Proc. of the 6th japonaise (1911).
The Musical
Intern. Congress of Orientalists, Leyden 1213. LEVIS, JOHN HAZEDEL,
Art of Ancient China ('T'ien Hsia
1883', vol. II, ist section, p. 35 ff.),

-
Leyden, 1884.
Essais de notation musicale chez les
arabes et les persons ('Etudes archeologi-
I2I4 .
Monthly' I, p. 404 ff .), 1935-
Foundations* of Chinese
Art (Peiping, 1936).
Chinese Music ('Asia
Musica
xrTrrr
XXXVII
et historiques d6diees I2I5 .

ques, hnguistiques
k M. le Dr. C. Leemans', p. 315 & p. 863 fl), 1937- , .

II97
Leyden, 1885.

ment
-
Remarks on the Earliest Develop-
.

Arabic Music ('Proc. of the gth

1216 LEVY, J., Die Signalinstrumentt in
altfranzosischen
1910).
Texten (Diss.,
den
Halle,

LICHTVELD, Lou, De muziek der Rood-

of
Intern. Congress of Orientalists, Lon- 1217
huiden ('Leven en Werken' IV, N.S.,
don 1892' vol. II, p. 155 ff-). London
No. i, p. 3 ff.), Januari 194-
1893-

97
12 18. -
rika', p.
Mwdek
84
('Ons Koninkrijk in
ft), 1947-
Ame- populaires de la Haute-Egypte ('Memoi-
res de la Mission Arche"ologique Frau-

1219. LIMA, EMIRTO BE, La musique Colom- 9aise au Caire' I, p. 305 ff.),
18817*84.
bienne ('Acta Musicologica' II, p. 92 1234. Les flutes egyptiennes

12 20. - La
chanson populaire en Colombia 1235.
('Journal Asiatique'
Egypte, Note sur
LXIV), 1889.
les
antique's

instruments de

12 21. - IV, p. 128 ff.), 1932.

(ibid.
Los flautos indigenas colombianas
('Estudios Latino-americanos* III, p.
musique de VEgypte ancienne
LAVIGNAC, 'Hist, de la Mus/ I, p. i
1910.
(in
ff.^

12 22. -
67 1937-
ff.),
Diverges manifestations folklon-
ques sur la cdte des Antilles en Colombia
1236. MACHABEY, A., La musique
('Revue de Musicologie' XXIII, p
ff.). 1944-
des Hittites
i

('Acta Musicologica VII, p. 167 if.), 2237. La musique

sume'ro-chaldeenne et
1935- egyptienne ('La musique des origines k
1223. LINDBLOM, GERHARD, Die Stossfrom- nos jours',, ed. Larousse, p. 59 ff.^
mel, insbesondere in Afrika ('Ethnos' 1946-
1945, p. 17 ff.). I2 38. La musique hebraique (ibid., p.
1224. LINDEMAN, L. M., Aeldre og nyere 63 ff.), 1946.
norske Fjeldmelodier (1853-67). ^39. La musique grecque (ibid., p. 64
12243. LINDSAY, MAURICE, Scottish Folk ff.). I946-
Music ('Grove's Dictionary* 5th ed., vol. 1240. La musique latine (ibid., p. 67 ff.),
Ill, p. 346 ff.), 1954- 1946-
1225. Liu, CHARLES, On the Jew's Harps from 1241. La musique et la medecine ('Poly-
Hainan Island ('Journal of the Science phonie' 1950, Nos. 7-8, p. 40 ff.).
Soc. of China' XX, p. 12 ff.), 1938. 1241^. La notation musicale (Paris,
1226. Liu, CHUNGSEEE HSIEN, Sur un instru- 1952).
ment musical a. anches libres en usage 1242. MACHIDA, KASHO, Notes on Japanese
chez Us Miao dans la Chine du Sud- Music (Japan, 1953).
Ouest ('L'Ethnographie' N.S. XXVIII, 12420. MACKAY, MERCEDES, The traditional
p.27 ff.), 1934. musical instruments of Nigeria ('The
1227. LLOYD, LLOYD S., The Myth of Equal- Nigerian Field' XV, No. 3, p. 112 ff.),
Stepped Scales in Primitive Music 1950.
('Music and Letters' XXVII, 73 MACLEAN, CHARLES, The Principle

Z22&. -
ff.), 1946.
Harnbostel*$
Fifths ('Monthly
Theory of
musical record*,
p.

Blown
1243.
the Hydraulic Organ ('Sammelb. der
Intern. Musikges/ VI, p. 183 ff.)
of

I22&t. -
London, 1946, Jan. and Febr.).
Pitch natation ("Grove's Dic-
1905.
1244. MACLER, FREDERIC, La musique en
Armenie (Paris, 1917).

I22&&. -
tionary' 5th ed. vol. VI, p. 785 ff.), 1954,
Pitck, standard, ('Grove's Dic-
tionary 5th ed., VI, p. 788 ff.), 1954.
12440. MADUMERE, ADELE, Ibo village music
('African Affairs' LII, Jan. 1953, P- 63
ft),
1229. LODS, ADOLPHE, Les idles des andens 1245. MAES, JOSEPH, Xylophones du Congo
Israelites sur la musique ('Journal de
beige ('Revue Congolaise' III (1912).
Psychologic* 1926). 1246. Les tams-tams du Congo Beige
1230. LOMAX, JOHN A. and ALAN, Folk (Lou vain, 1912).
Song: U.S^i. The Best American in 1247. La sanza du Congo Beige ('Congo,
Ballads (New York, 1947). revue generate de la colonie beige',
12301*. LQMG, KKNNETH R, African Folk- 1921),
Song, Some notes on the Music of the I2 48. Les Lukombe ou instruments de
Bantn Tribes of Southern Africa (in musique & cordes des populations du
'Hinridisen's Musical Yearbook' VII, Kanai Lac Leopold Lukenie ('Z,
p. 577 ff.), 1952. f.
Ethnologic* LXX, p. 240 ff.), 1939.
I230&. LOHGMQRE, L., Music and Song 1249. MA HIAO-TS'IUN, La musique chinoise
among ike Bantu People in urban areas ('La musique des origines a nos jours',
on the Wtimafersramd ('African Music ed. Larousse, p. 438 ff.), 1946.
1
Society Newsletter I, p. 15 ff.), 1953. 1250. MAHILLON, VICTOR, Catalogue de-
1231. LOORITS, OSKAR, Volksli&der der Liven scriptif et analytique du Musee instrur
('Opetatnd Eesti Seltsi toimetnsed* mental du Conservatoire de Bruxelles (5
XXVIII), Tarta, 1936. vols.), BruxeUes/Gand 2/1893-1922.
1232. LORD, AUBERT B., Yugoslav epic songs, 1251. MAHLER, ELSA, Altrussische Volkslieder
vol. I (Harvard Univ. Press, aus dem PScoryland (Basel, 1951).
1954).
1233. LORET, VICTOR, Quelques documents 1252. MANIZER, H. H., Music and musical
relatifs a la litterature et & la instruments
musique among some Brasilian tribes
 ('Sbornik
muzei antropol. i.
etnogr. 1270. MARTIN, E., Trois documents de musique
pri
ross. akad. nauk.' V), Petrograd, grecque. Transcriptions commenttes de
1918. Deuxidme hymne delphique a Apollon,
1253- MANKER, ERNST, Die Lappische Zau- Ep^taphe de Seikilos (lie s. ap. /.-C.)
oertrommeL I. Die Trommel als Denkmal et fragment d*un Choeur d'Oreste d'Euri-

materieller Kultur ('Acta Lapponica' I), pide (1953)-

Stockholm, 1938.
1254. MANSOOR UDDIN, M., Folksongs. Their
uses in Pakistan (Dacca, 1952).
I2 ^ Folk Songs in
('Journal of the Intern. Folk Music
Council' V, p. 51), 1953.
1256. MANUSAMA,
A. TEL, Krontjong als
muziekinstrument, als melodie en als ge-
zang (Batavia, 1919).
12560. J. N., La musique chez Us
MAQUET,
Bapende ('Problemes d'Afrique Cen-
*i272. MARTINEZ TORNER, EDUARDO, Biblio-
graphie du folklore musical espagnol
('Art populaire' II, p. 159 ft), 1931.
East Pakistan 1273. MARX, B. L., The Hawaiian mele from a
musical standpoint ('Hawaiian Annual*
1904, p. 154 ft).
1274. MASU, GENJIRO, The place of folk music
in the cultural life of the present day in
Japan ('Journal of the Intern. Folk
Music Council' V, p. 64 ft), 1953.
1275. Japanese Music and Japanese Life

I256&.
-
trale' VII, p. 299 ft), 1954.
Initiation a la musique congolaise
(' Jeunesses
Musicales' No. 21, Dec.
('Japanese Music'), Tokyo, 1953.
1276. MATCHINSKY, A., A propos de la gamme
musicale e"gyptienne ('Publ. du Musee de

1256^.
-
1953, P- 3 **)
Musicians Bapende ('Bulletin des
Femmes Coloniales', Jan. 1954, P- 3 1
FHermitage' II, p. 9), 1935*
1277. MATOS, MANUEL GARCIA, Lirica popu-
lar de la Alta Extremadura (folklore

ft). coreografico y costumbrista) (436 docu-

.MARCEL-DUBIOS, CLAUDIE, Instru- mentos musicales ineditos), Madrid,
ments de Musique de I'lnde ancienne undated (after 1931).

1258.
-
(Paris, 1941).
Les instruments de musique popu-
Musique des origines a nos
laires ('La
1278. Cante flamenco. Algunas de sus
presuntos origenes ('Anuario Musical de
I'lnstituto de Musicologia' V, p. 97 ff.),

-
jours*, ed. Larousse, p. 53 ft), 1946.
La musique de I'lnde (ibid., p. 454 1279.
Barcelona, 1950.
Cancionero popular de la Provincia
2259.

12590.
-
ft), 1946.
French Folk Music ('Grove's
Dictionary* 5th ed. vol. Ill, p. 239 ft),
de Madrid, vol. I. Edicion critica por
MARIUS SCHNEIDER y Jos6 ROMEU
FIGUERAS (Barcelona/Madrid, 1951).
1280. MATSUNAGA, SUSUMO, The evolution of
1954-
1260. MARIANO, P. A., Burmese Music and samisen music ('Contemporary Japan*
Musical Instruments (in J. G. SCOTT, III, p. 105 ff.), 1934.
'Burma, a Handbook of Practical In- i28i.MATTHiEU, G., Le Systeme musical
formation', London, 3/1921), p. 360 ('T'oung Pao' XV (1915)* P- 339 ff-;
ft XVII (1917), p. 489 ff.; XVIII (I9i8)>
1261. MARIJIC, FATHER BRANIMIR, Die Volks- p. 31 ff.; XIX (I9i8/'i9), p. 41 ff.;
musik Bosnians und der Herzegovina XX (i920/*2i), p. 40 ff. and p. 355
ff.).
(1936).
1262. MARINUS, ALBERT, Le folklore des in- 1282. MAYER-SERRA, OTTO, Panorama de la
musica mexicana (Mexico, 1941).
struments musique ('Le Folklore
de
McALLESTER, DAVID P., Peyote Music
braban9on* XIII, Nos. 73-74)* Brussels, 1283.
('Viking Fund Publ. hi Anthrop.'
1933-
MARKS, R. W., The Music and Musical XIII), New York, 1949-
1263.
Instruments of Ancient China ('The Menomini Peyote Music (in J, S.

Musical Quarterly* XVIII), 1933. SLOTKIN, 'Menomini Peyotism') (Phila-

music Transactions of the Amer.
1264. MARQUES, A., Ancient Hawaiian delphia,

1265.
-
('Hawaiian Annual' 1914, p. 97 ^-)-
Music in Hawaii Nei (ibid. 1886,
p. 51 .)-
1284*
Phil.
1952.
Soc/ XLII, part 4, p.

Notes on the Music of the Navajo

681 ff.),

Music in Creation Chants (in Record album

1266. MARTENS, FREDERICK H., the

of the Aztecs ('The Musical Quar- 'Navajo Creation Chants', issued by

-
life
terly' XIV, p. 413 )* i?28.
Mahomet and music XII,
Peabody Museum, Harvard Univ., p.
33 ff-)* J 952-
1267.

1268. -
p. 376 ft), 1926.
The influence of music in world
(ibid.
I2 8 4&. Enemy Way Music. Study of
Social and Esthetic Values as seen in
A

1269. -
history (ibid. XI, p. 196 **)>
Music in Chinese fairytale and
legend (ibid. VIII, p. 528 ft), 1922.
Navaho Music ('Papers of the Peabody
Museum of American Archaeology and
Ethnography* XLI), 1954.

99
 African Music Reexamined in the
X285.MCPHBS, COLIH, TU
'absolute' music
Light of New Materials from the Belgian
in Bali ('Modem Music' XII, no. 4, p.

J2 g6, -
163 fl), 1935-
Figuration in
r
Baltnese
.
,
_
Music
.
Congo and Ruanda-Urundi
p. 245 ff.),
March 1953.
('Zaire' VII,

I2 8 7 -
f'Peabody Bull/, May 1935)-
The Balinese Wajang koeht and
. Les Styles Vocaux dans la Musique
du Ruanda-Uvundi ('Jeune Afrique*

J2 gg, -
its mmic ('Djawa' XVI, p.
i ft), 1936.

Angkloeng gamelans in Bali ('Dja-

VII, p. 12 fi), 1953-
.. Recording in the Belgian Congo

12 89 _
wa' XVII, p. 322 ff..}, 1937-
Children and Music (ibid. XVIII,
('African Music Society Newsletter' I,
June 1952, P- 15 ff-)

-
.

Song text of the Bashi ('Zaire*

1938-
p. 309 if.},
Musical Exploration %n Bolt VIII, p. 27 ff.), 1954-
1290 and BARBARA W.
.

No. 3 p. 12, MERRIAM,

flfasicai America' JLX,

1291 .
-
263), 10 Febr. 1940.
The Music of Bali, recorded by
COLD* McPnEE, BENJAMIN BRITTEN
Flathead Indian Music. Report on
Field Research (Evanston, 1950).
1310. MERSMANN, H., Grundlagen
eine-r musi-
kalischen Volbsliedforschung
and GEORGES BARKERS (Schirmer's (Leipzig,

Literary of recorded music'

No. 17), 1930).

1292. .
- New York, 1940.
Balinese Ceremonial Music, tran-
scribed for two pianos, four-hands (New
1311. METFESSEL, MILTON E.,
Phonophoto-
graphy in Folk Music (Univ. of North
Carolina Press, 1928).

.
- York, 1940).
The technique of Balinese Music
f Bufl. of the Amer, Musicol.
Soc.' No.
I3I2 . The Strobophotography ('Journal
of Gen. Psychology* II, p. 135 ff.), 1929.
1313. METRAUX, A., Le bdton de rythme.

.
- 6, p, 4

BMi
.), 1942.
r^r five-tone
('The Musical Quarterly
Gamelan Music
1
XXXV,
of
Contribution a V etude de la distribution
gfographique des elements de culture
d'origine -melan&sienne en Amerique

,
- Mc
no. 2, p. 250 ff.), 1949-
^4 cft $/ sm^$
in
Mm (1947)-
Bali 1931-1939 (in
du Sud ('Journal de la Soc. des Am&i-
canistes', N.S. XIX, p. 117 ff.), Paris,
1927.
1314. MEYER, A. B., Die Nasenflote im Ost-
preparation).
1296. HEAD, CHARLES W., The Musical indischen Archipel ('Globus* LXXV,
Instruments of the Incas ('Anthrop. No. 12), Braunschweig, 1899.
Papers of the Amer. Mns. of Natural 1315. MICHAELIDES, SOLON, The Neohellenic
Hist,' XV, part III), 1924.
Folk Music (Limassol, Cyprus, 1948)-
De Greek Folk Music, its preservation
1297. MEIJEK, D. H,, spleettrom (Tijd-
schr. v. fa. Batav. Gen/ LXXIX, p. and traditional practice ('Journal of the
Intern. Folk Music Council' I, p. 21
415 ff.), 1917- ^ . .

1298. MELO, GmuffERME DB, ^4 M&stca Brasil ff.), 1949-

Greek (Nee-Hellenic) Folk Music
{Rio de Janeiro, 1947)-
^

1299. MELO, V^RISSOIO DE, Rondos infantis ('Grove's Dictionary' 5th ed. vol. Ill,
brasiMras (*Revista do Arquivo* CLV, p. 268 ff.), 1954-
p. 227 ff.), Sao Paulo, 1953, 1318. MILES, C., Aboriginal musical instru-
ments in North America ('Hobbies*
1300. MENWDZA, VicaENTE T., Los percutores
pr^ce^Usianos ('Amales del Museo Na- LVII, p. 134 ). 1953-

-
cional de Arqueologia' VIII), 1913.
Los tepomazlis en las dmlizaciones
1319. MILIEVIC, VLADO, Melodies populaires
la Bosnie (ed. by the National
de
z^oi.

130x0.
-
pr^cwiesiamas (ibid.), 1933.
Muswa indigma Otomi 1 vol. I
f Revlsta de Estedios Miiacales V/VI,
Mus. of Banja Luka), BanjaLnka, 1954.
1320. MOBERG, CARL ALLAN, Swedish Folk
Music ('Grove's Dictionary' sth ed.
p. 351 Hendoza, Argentana, 1951.
ff.),
voL III, p. 372 ff.), 1954-
1302. MENG, Gran, R&marks on Chinese 1320^. MOEGK, HERMANN, Ursprungund Tra-
Mmsic and Musical Imstruwmte (China dition der JKernspaltfldten der Euro-
Institute, New York, 1932). p&ischen Folklore und die Herkunft der
1304. MERSIAM, ALAN P., lnsmment$ and musikgeschichtlichen Kernspattftiten-
m&ages in the kistory of Typen (Diss. GQttingen, 1951). (soon to

1305.
-
jmxz (diss.) {Evanstoo, HI., 1948).
Notes on Ckeyenm Songs ('Journal
of the American Mmskol. Soc/ III,
1321.
be published).
MONDON-VIDAILHET, M., La musique
thiopienne (in LAVIGNAC, 'Hist, de la

1306. -
p.

ikeif
89 ff.), 1950.
Flatkead Indian Instruments and
Mvsic ('Musical Quarterly* 1322.
Mns/ V,
before 1910.
p.

MONTAKDON, GEORGES,
3179 ff.), undated, but

GSnealogie des
XXXVII, p. 368 ff.), July 1951. instruments de musique et les cycles de

100
 civilisation ('Archives suisses d'Anthro-
pologie ge'ne'rale' III, fasc. i), 1919.
3:343.
-
.
The beginnings
and Studies presented to
'Essays
of music (in

ARTHUR PRICHARD,
1323.
MOOR,
Music (in
Cyclopedia of
OSCAR THOMPSON,
Oriental
'Intern.
Music and Musicians' 4th
1:344.
_ -
WILLIAM RIDGEWAY', p. 561 ff.), 1913.
^ Study of Sarawak Music
*
('Sammelbande der Intern. Musikges
ed., p. 1322 fl), 1946. XV, p. 296 fl), I9i3/'i4-
1324.
MOORE, GEORGE F., Symphonia not a 1345. NADEL, SIEGFRIED, The Origins of
Bagpipe ('Journal of Biblical Lite- Music ('The Musical Quarterly* XVI,

i3 2 5*
rature' XXIV, p. 166 ff.), 1905.
MOREUX, SERGE, La musique
('La musique des engines & nos jours',
japonaise 1346.
-
p. 531 ff.), 1930.
Marimba-Musik ('Sitzungsber. der
Klasse der Akad. d. Wiss. zu
phil.-hist.

1326.
ed. Larousse, p. 446 ff.), 1946.
MORICI, G., Canti popolari lituani
(Rome, 1925)-
1347.
-
Wien' CCXII), 1931.
Sur la structure des systemes de
,

gammes et le probleme du 'cycle' dans la

Moss, CLAUDE RUSSELL and A. L.
13 27.
KROEBER, Nabaloi Songs ('Univ. of
California Publ. in Amer. Archeol. and -
musique primitive ('Art populaire* vol.
II, p. 102 fi), 1931.
Musikalische Astrologie ('DerErd-
Ethnol.'
Press, May
MOULE, A. C,
XV,
1919.
p. 187 fi), Univ. of Cal,

A
List of the Musical
1348.

1349.
-
ball* V, p. 441 ff.), 1931.

schen
Zur Ethnographic des afrikani-
und
1328.
Instruments of the Chinese ('Journal of
the North-China Branch of the Royal
Asiatic Soc.' XXXIX), 1908.
1350.
1351.
- Xylophons
Fortschritte* VIII, p. 444 ff.), ^32.

-
('Forschungen

Georgische Ges&nge (Berlin, 1933).

Messungen an kaukasischen Grif-
^29. AWestern Organ in Mediaeval flochpfeifen ('Anthropos' XXIX, p. 469
China ('Journal of the Royal Asiatic ff.), 1934.
Soc.', April, 1926). 1352. NARASIMHAN, V. M. Temple Curiosi-
1330. MUKERJI, D. P., Indian Culture and Some strange musical objects ('The
ties.
Music (in 'The Cultural Heritage of March of India' VI, p. 41 ff.), Jan./
India' III, p. 60 1 ff.), Calcutta, 1939. Febr. 1954.
1331. Indian Music (Bombay, 1945). 1353. NATHAN, M. MONTAGUE, Armenian
1332. MULLER, Einige uber die Notizen Folk Music ('Grove's Dictionary* 5th
japanische Musik ('Mitt, der Deut- ed. vol. Ill, p. 184 ff.), 1954.
schen Ges. 1 die Natur- und Volkerk. 1354. NAU, WALTER G., A triptych from the,
Ostasiens' I, fasc. 6), 1876. Arbatsky collection at the Newberry
1333. MURKO, M., Phonographische Aufnah- Library , Chicago (III.) (Chicago, 1954).
men epischer, meist mohammedanischer 1355. NEOG, SRI MAHESWAR, An old Assa-
Volkslieder im nordwestlichen Bosnien mese work on timing in Music ("The
(1912). Journal of the Music Academy, Madras*
1334. Phonographische Aufnahmen epi- XXII, p. 147 ff,), 1951-
scher Volkslieder im mittleren Bosnien 13550. NETTEL, REGINALD, Sing a song of
und der Herzegowina (1915). England. A social history of traditional
1335. MURSELL, JAMES L., Psychology and song (London, 1954).
the problem of the scale (The Musical 1356. NETTL, BRUNO, Historical Perspective
Quarterly' XXXII,
564 ff.), 1946. p. in Primitive Music: the Shawnee
1336. MUTATKAR, Mrs. SuMATi, Alap in Musical Style ('Journal of the Amer.
Hindusthani music ('The Journal of MusicoL Soc.* V, No. 2), 1952.
the Music Academy, Madras' XXIV, p. North American
Stylistic Variety in
Indian Music ('Journal of the American
1337.

1338.
77 fl), 1953.
Muziek
VII, p. 52
MYERS, CH.
uit
ff.),
Olievaten
May,
S.,
1954.
('Terpsichore'

The Rhythm-Sense of
- -
MusicoL Soc/ VI, p. 160 ff.), 1953,
North American Indian Musical
Styles ('Journal of American Folklore*
Primitive Peoples ('Ber. 5th Intern. LXVTI No. 263, p. 45 ff. and p.

1339.
Psychol. Congress in Rome 1904').
j[ Study of Rhythm in Primitive
Music ('British Journal of Psychology'
1359-
-
297 ff.), 1954-
Notes on Musical Composition in
Primitive Culture ('Anthropological
I, p. 397 fi), 1905. Quarterly' XXVII (N.S. II), p. 8r ff.),
, Music
1340. of the Veddas (in SELIG- July 1954-
MANN, 'The Veddas'), Cambridge, 1911. Songs from Nigeria, Native
The Study of Primitive Music and Folklore*
1341.

1342.
('Musical Antiquary' III, p. I2iff.),i9i2.

bridge
Music
Anthrop.
(in 'Reports of the Cam-
Exped. to Torres
-
1954, P-
Hybridized
237^-
('Midwest

Text-music relationships in Ara-

paho songs ('Southwestern Journal of
Straits' IV), 1912. Anthropology* X, p. 192 ff.), 1954-

IOI
 and reknown in a Solomon
. change in folk music
Stylistic
slit-gongs
Islands culture (in KROEBER, 'Anthro-
('Southern Folklore Quarterly' XVII, p.
216 ff.), 1953. pological Society Papers' (Berkeley)
North American Musical Styles Nos. 8 and 9, p. 69 ff.), 1953-
33 6i&.
P. J, VAN, Chansons populaires
Journal of American Folklore* LXVII,
('
1379. OOST,
de la region des Ortos ('Anthropos*
p. 297 ff. and p. 351 ff.), 1954- VII),
I36i. Notes on musiacl composition in 1912.
La musique chez les Mongols des
primitive culture ('Anthropological
Urdus (ibid., X and XI), I9i5/*i6.
Quarterly' XXVII, p.Si ff.), July, 1954-
Chansons
1362. NEVERMANN, HANS, Hawaii. Musik populaires chinoises

('Die Husik" XX, p.

818 ff.), 1928.
Receuil de chansons mongoles
1363. NEWMAN, A. K. and W. H, WARREN,
On the musical notes and other features ('Anthropos* III, p. 219 ff.), 1908.
Maori trumpet ('Transactions I3 8 3- O'REILLY, PATRICK, Autour de la
of the long
of the New Zealand Inst/ XXXVIII, musique des N6o-Caldoniens ('Journal
1906.
de la Soc. des Oce*anistes* II, p. 93 ff.^
p. 134 ff.),

1364. NEWMARCH, ROSA, Rumanian Folk 1946.

Music Dictionary* 5th ed.
('Grove's 1384. ORTIZ, FERNANDO, Les Instruments de
vol. Ill, p. 342 ff.), 1954- la Musica Afrocubana. vol. I. Los
! 364*1 Russian Folk Music (ibid., Ill, p.
Instruments Anattfmicos y los Polos
1954- Percusivos; vol. II. Los Instruments
343 ff.},
NGUYEN VAN HUYEN, Les Chants Sacuditivos, los Frotativos y los Hierros;
1365.
altemes des garcons et des filles en vol. Ill, Los tambores xilofonicos y los

Annam (Paris, 1934). membrano'fonos abiertos (Habana 1952).

1366. NIKOLOV, KOSLA, Beitrdge zum Studium 1385. OSA, SIGBJ0RN B., Hardang Fela, the
des bulgarischen Volksliedes. Metrik, Hardanger Fiddle (Oslo, 1952).
Rhythmik, TonaliW (Berlin, 1942). 13850. OSANAI, TADAO, Twice intermediate
13660. NORLIND, TOBIAS, JBidrag fill Marin- tuning ('Journal of the Soc. for Research
in Asiatic music' 10/11, p. 5 ff.), 1952.
trumpetens Mstoria ('Svensk Tidskrift
for Musikforskning* IV, p. 97 ff.),1922. 13856. OSBURN, MARY HUBBELL, Some pre-
I3 6y. Bidrag till kantelens Mstoria historicmusical instruments of North-
(1923).
America ('Hinrichsen's Musical Year-
1368, Musikinstmmentensystematik book* VII, p. 243 ff.), 1952.
('Svensk Tidskrift f. MusiMorskning' 1386. O'SULLIVAN, D. J., Irish Folk Music
XIV, p. 95 .), 1932. ('Grove's Dictionary' 5th ed. vol. Ill,
1369. Lyra und Kithara in der Antike p. 289 ff.), 1954-
(ibid. XVI, 1934)- 1387. OTA, TARO, Wind instruments of the
1370. Beiirage zuy chinesischen Instru- Ainu ('Journal of the Soc. f. Research
mentengescUcUe (ibid. XV, p. 48 ff.),
in Asiatic Music* IX, p. 5 ff .), Marchi95i.
1933. 1388. PANOFF, PETER, Phonographierte wot-
1371. Den svmska lutan (ibid. XVI, jakische r permjakische und tatarische
1935)- Lieder ('Z. 1 Musikw.' XI), 1929.
1372. Systematik der Saiteninstrumente, 1389. Die altslawische Volks- und Kir-
vol. I. Geschichte der Zither (1936). chenmusik (in BROKEN, 'Handbuch der
1373. Systematik der Saiteninstrumente, Musikwissenschaft'), 1929.
vol. II. Geschichte des Kkwiers (1939). 1390. PANUM, HORTENSE, The stringed instru-
* 3E Musikinstrwnentens Historia ments of the Middle Ages (London,
374
(Stockholm, 1941). undated, but published after 1921).
1375. Die indonesischen Gambus-Instru- 1391. Middelalderens Musikinstrumenter
mente ('Ethnos* XVIII, p. 143 ff.) 1953. ('Nordisk Kultur. Musikk og Musikk-
1376. Notation of Folk Music. Recommanda- Instrumenter', 1934, P- 5 ^-)-
Hons of the Committee of Experts, con- 1392. PATERSON, A., Old Lithuanian Songs
vened by tike Intern. Archives of Folk (Kaunas, 1939).
Music, Geneva 4-9 July 1949 and Paris 1393. PAUCITIS, K., Latvian Folk Music
12-1$ December Jp50 (issued in 1952 ('Grove's Dictionary' 5th ed. vol. Ill,
with the assistance of Unesco) . p. 313 ff.), 1954.
1377. OBRESCHKOFF, CHRISTO, Das "buLgari- 1394. PAYER, Ein am Amazonenstrom ge-
scke Volkslied ('Berner Verdff. z. Musik- br&uchlicher Trommelapparat ('Z. f.
forschung' IX). Ethnologic* XXXV), 1903.
1378. O'BRIEN, F., Minstrels of the tropics 13940. PEARSE, ANDREW, Aspects of change
(tke Arun) ('Century' C, p. 714 ff.), in Carribean folk music ('Journal of the
1920. Intern. Folk Music Council' VII, p. 29
13780. OLIVER, D. L., The relation between ff.)> 1955-

102
 J395-
PEDRELL, FELIPE, Cancionero Musical 1411. POLAK, A. Die Harmonisierung
J.,
Popular Espanol (3 vols.), Vails, Cata- indischer, tiirkischer und japanischer
lonia, undated. Melodien (Leipzig, 1905),
1396.
PELAGAUD, FERNAND, Syriens et Phry- 1412. PONCE, M. M., Apuntes sobre musica
LAVIGNAC, 'Hist, de la Mus.'
giens (in mexicana ('Estudios Latino-americanos*
I, p. 49 fl), 1910. III, p. 37 fl), 1937.
1397-
PEPPER, HERBERT, Les problemes gene- 1413. POPLEY, HERBERT A., The Music of
mux de la musique populaire en Afrique India (Calcutta/London, 1921),
noire ('Journal of the Intern. Folk 1414. PORTMANN, M. Andamanese Music
V.,
Music Council' II, p. 22 fl and 'News- ('Journal of the R. Asiat Soc/
letter of the African Music Soc.* I No.
XX, p.
181 fl), 1888.
3, p. 4ff.), 1950. 1415. POUND, EZRA, 'Noh' plays ('The
X398. Images musicales eguatoriales translations of Ezra Pound', p. 211 fl),
('Tropiques' XLVIII), Dec. 1950. London, Faber & Faber, undated.
1399-
"
Musique centre-africaine ('Encycl. 1416. PRADINES, EMERANTE DE, Instruments
coloniale et maritime'), 1950. of Rhythm Morrow* III No.
('To i, p.
1400.
Sur un Xylophone Ibo ('Newsletter 123 fl), 1954.
of the African Music Soc.' IV, No. 2, p. 1417. PRINGSHEIM, KLAUS, Music of Thailand
35 fl), 1952. ('Contemporary Japan' XIII, p. 745
1401. L'enregistrement du son et I" art fl), 1944.
musical ethnique ('Bull. Inst. Et. 1418. Siamesische Opern (*Stimmen"
centrafr.', new series, 1952, p. 143 fl). 1950, fasc. 18, p. 520 fl).
14010. Essai de definition d'une gram- 1419. PSACHOS, C. A., Le chant populaire
maire musicale noire ('Problemes d'Af- hellenique de I'antiquite a nos jours
rique Centrale* VII, p. 289 fl), 1954. ('Art pop-ulaire' II, p. 126), 1931.
1402. PERI, NOEL, Essai sur les Gammes 1420. PULESTONE, F., African drums (Lon-
Japonaises (Paris, 1924). don, 1930).
1403. PETIT, RAYMOND, Exotic and contem- 1421. QTJASTEN, JOHANNES, Musik und Ge-
porary music ('The Musical Antiquary* sang in den Kulten der heidnischen
XI, p. 200 fl), 1934. Antike und christlichen Fruhzeit (Miin-
1404. PETNEKI, JENO, Das ungarische Volks- ster, 1930).
lied (Budapest/Leipzig/Milano/Danubia 1422. RAFFLES, THOMAS STAMFORD, The
1943)- History of Java (1817), p. 469 fl
1405. PHILLIPS, EKUNDAYO, Yoruba Music 1423. RAGHAVAN, V., Nagasvara (*The Jour-
(Johannesburg, 1953). nal of the Music Academy, Madras'
*i4C-6. PICKEN, LAWRENCE, Chinese Music XX, p. 155 fl), 1949.
('Grove's Dictionary of Music and Mu- 1424. An Outline Literary History of
sicians', 5th ed., vol. II, p. 219 fl), 1954. Indian Music (ibid. XXIII, p. 64 fl),
1407. Japanese Music (ibid., vol. IV, p. 1952.
589 fl), 1954. 1425. Some early references to Musical
1407^. Instrumental Polyphonic Folk Ragas and Instruments (ibid. XXIII, p.
Music in Asia Minor ('Proc. R. 115 fl), 1952.
Musical Ass/ LXXX, p. 73 fl), 1954. 1426. RAJAGOPALAN, T. K., The Music of the
14076. The Music of Far-Eastern Asia Sama-Veda Chants ('The Journal of the
('The New Oxford History of Music', Music Academy, Madras' XX, p, 144
3rd ed., vol. I), 1955. fl), 1949-
1407^. Review 'Kashmiri Musiqi (sa,
of 1427. RAMACHANDRAN, K. V., The evolution
ri, ga, ma)' ('Journal of the Intern. Folk of the theory of music in the Vijaya-
Music Council* VII, p. 62 fl), 1955. negara Empire (*S. Krishnasnami Aiy-
1408. PIGGOTT, FRANCIS, The music and angar Commemoration Volume', 1936).
musical instruments of Japan (London, 1428. Carnatic Ragas from a new angle
1909). Sankarabharana ('Journal of the Music
14080. Piobaireachd, edited by the Pio- Academy, Madras', XXI, p. 88 ff .) , 1950.
bairreachd Society (several volumes), 142$, Carnatic Ragas and the textual
Glasgow 192?. 193?. Tradition (Madras, 1950).
1409. PLISCHKE, HANS, Geisterfrompeten und 5430, Apurva Ragas of Tyagarafa's
Geisierflotenaus Bambus vom Sepik> Songs (Madras, 1950).
Neuguinea ('Jahrbuch des Mus. f. 1431. Music and Dance in Kalidasa
Volkerk. zu Leipzig' VIII, p. 57), 1922. (Madras, 1950).
1410. POLADIAK, SIRVART, Armenian Folk 3:432. Stibandhu's Overtones ('Journal of
Songs (Publ. in Music of the Univ. of the Music Academy, Madras', XXIII,
California, II, no. i), Berkeley /Los p. 3 fl), 1953.
1433. RAMACHANDRAN, N. S., The Ragas of
Angeles, 1942.

103
 Archiv f. Ethnogr.' XL,
Karnatic Music (Univ. Madras, I93 8 )-
1434. RAMON Y
RIVERA, Luis FELIPE,
Polintmia y mslodica independiente
de Folklore' I),
-
('Intern.
65 ff.), 1941-
Einfuhrung in die Musikpsycho-
logie (Bern, 1946).
p.

('ArcMvos Venezoianos
Caracas, 1952. 1457- RHODES, WILLARD, Acculturation in
North American Indian Music ('Selected
RANADE, G. H., The Indian music of
Papers of the XXIXth Intern. Con-
1435.
ike Vsdic and the classical period ('The
Madras' gress of Americanists', p. 127 ff.),

I43 6..
Journal of the Music Academy,

_
XIX, p. 71 ). 194*-
Hindustani Music, an Outline of *I458.
-
Chicago, 1952.
North American Indian Music: a
Bibliographical Survey of Anthropolo-
Physics and Aesthetics (Sangli, 1938,
its
Luzac & Co. London). gical Theory ('Notes' X, p. 33 ff.), 1952.
Indokinai dallamok 1459. RIBEIRO, DARCY,
Music of the American
1437. RANKI, GYOKGY,
Indian (10 vols.), Washington, Library
(in 'EmMkkoayv Kodaly
szfilet&napjdra', p. 4*2
I 953-
Zoltan 70.

The closed
ff.),
1438. RATANJANKAR, PANDIT,
Forms of Hindustani Music ('Tlie
Journal of the Musical Academy,
Budapest,
1459^.
-
of Congress, 1954^55)-
Noticia dos Ofaie-Chavante
('Revista do Museu Paulista, N.S. V,
p. 105 ff.), Sao Paulo, 1951.
1460. RIBERA
Y TARAGO, J., Music in

-
Madras' XX, p. 78 &)* *949-
Just Intonation in
Hindustani
Ancient Arabia and Spain (New York,

-
.

Raga Singing (ibid. XX, p. 89 ff.)> 1949- 1461 RICHARD, Mrs. TIMOTHY, Paper on
0. Points of Affinity between Hin- Chinese Music (Shanghai, 1899).
dnsthani and Carnatic Music (ibid. 1462 RIEGLER, EMIL, Studien iiber das

1441.'
-
XXI, p. 73 ff-) 1950.
Ragas in Hindusfkani Music j^6^
-
rumdnische Volkslied (1927).
D as rumanische Volkslied (Berlin,

1442.
- XXII, p. 97 ff -)> I0-5i-
(ibid.
Raga Expression in Hindusthani
Mnsic (ibid. XXIII, p. 56 ff.), 1952.
1943)-
1464 RIEMANN, LUDWIG, Uber eigentumliche
bei Natur- und orientalischen Kultur-
Volkstanze volkern vorkommende Tonreihen und
1443. RAUDKATS, A., Estnische
und Kinderspiele (Tartu, 1926/^27). ihre Beziehungen zu den Gesetzen der
Harmonie (Essen, 1899).
1444. K^^D* F.Tfo., A new interpretation of
the
Phaesfos disk: the oldest music in the 1465 RIHTMAN, CVJETKO, Polyphonic Forms
world? ('The Quarterly Statement, a in Bosnian and Hercegovinian Folk-
music ('Bilten Inst. za proucavanje
journal of Palestine Research and
folklora u Sarajevo' Sara-

- p. 7
I,
Discovery' Jan. 1921, p. 29 ff.}. ff.),

1445. REESE, GUSTAVE, Music in the Middle jevo, 1951-

Ages (New York, 1940). Les formes polyphoniques dans la
1446. REINACH, THEODORE, La musique musique populaire de Bosnie et d'Her-
zegovine ('Journal of the Intern. Folk
Grease (Paris, 1926).
1447. REINER, ML, The Music Rule ("Expe-
rientia* V, p. 441 ff.), Basel, Oct. 1949.
1448. REINHARD, KURT, Die Musik Birmas
-
Music Council' IV, p. 30 ff.), 1952,
Yugoslav Folk Music ('Grove's
Dictionary* 5th ed. vol. Ill, p. 412 fi),

-
(Wurzburg-Aumnhle, 1939).
Die Mnsik exotischer Volker (Ber-
1954-
1468 RITTER, HELMUTH, Der Reigen der
1449.

14^0. -
lin, 1951).
Dos- Berliner Pkonagramm-Archiv
{'Die Masikforschung' VI, p. 46 ff.),
tanzenden
Musikw/
1469 ROBERTS,
I,
JDerwische
p. 28 ff.),
('Z.
1933.
HELEN HEFFRON, Some songs
f. vergl.

-
1953-
Tommesswmgm am fnnf ostafrikani-
of the Puget Sound Salish (in collab.
with H. K. HAEBERLIN) ('Journal of
1451.
sdkm
- Klmpem
IV, p. 366
('Die Musikforsclmng'
-
Amer. Folklore* XXXI), 1918.
Chakwena Songs of Zuni and
1452. Die
1951-
ff.),
Musik des
Fliegerspiels ('Z. 1 Efenologie'
p. 59 ff.), 1954.
mexihanischen
LXXIX
1470

-
Laguna (ibid. XXXVI), 1923.
Folksgames of
by MARTHA WARREN BECKWITH, with
Jamaica, collected

1453. REINHOLJI, A., Finnish Folk Music music recorded by HELEN H. ROBERTS
f Grove's Dictionary" 5th ed. vol. Ill, New York, Vassar
p. 237

rature of Jazz,
ff.), 1954.
*i454- REISNER, ROBERT GEORGE, The lite-
A
preliminary biblio-
1472
-
(Poughkeepsee,
College, 1922).
Christmas mumming
by MARTHA WARREN BECKWITH, with
in Jamaica

graphy (Hew York, The N. Y. Public music recorded by HELEN H. ROBERTS

library, 1954). (Poughkeepsie, New York, Vassar
1455. REVESZ, GEZA, Der Ursprung der Musik College, 1923).

104
 Songs of the Copper Eskimo
1473- 1491. RODRIGUES, J. BARBOSA, O canto e la
('Report of
the Canadian Arctic Exped. danca selvicola ('Revista Brazileira' III,
I9i3/'i8' XIV) (in collab. with D. vol. IX, p. 32 fl), Rio de
Janeiro, 1881!
JENNESS), Ottawa, 1925. 1492. ROMANSKY, L., Die einfachen Koledo-
Ancient Hawaiian Music ('Bull. Refrains der bulgarischen Weihnachts-
2474.
No. 29 of the Ber. P. Bishop Mus.'), lieder (Sofia, 1942).
Honolulu, 1925. 1493. ROMUALDEZ, NORBERTO, Filipino Mu-
_
^^ in Possible survivals of African song sical Instruments and Airs of long
ago
Jamaica ('Musical Quarterly' XII), (Manilla, 1931).
1926. 1494. ROSENTHAL, ETHEL, The story of
Variation in melodic renditions as Indian music and its instruments
2^5.
an indicator of emotion ('Psychological (London, 1929).
Review' XXXIV), 1927. 1495 .
Tyagaraja: a great South Indian
j^yy^
New
Phases in the Study of Primi- Composer ('Musical Quarterly' XVII, p.
tive Music ('Amer. Anthrop.' N.S. 14 fl), 1931.
XXIV, p. 144 fl), 1928. 1496. ROUANET, JULES, La chanson populaire
J47 8. Jamaica Folklore, collected by ardbe en Algerie ('Revue Musicale* V,
MARTHA WARREN BECKWITH, with p. 161 fl), 1905.
music recorded by HELEN H. ROBERTS 1497. Esquisse pour une histoire de la
(New York, 1928). musique arabe en Alg&rie ('Mercure
1479.,
How the Hawaiian instrument, the Musicale' I, p. 553 rl; II, p. 128 fl,
Ukulele, received its name ('Journal of 208 fl), !9O5/'o6.
the Polynesian Soc/ XL, p. 175 fl), 1498. La musique arabe (in LAVIGNAC,
1931. 'Hist, de la Mus/ vol. V, p. 2676 fl),
j^go. Suggestions to field workers in col- 1922.
kcting folk music and data about instru- 1499 and YAFIL, E. N., Repertoire de
ments ('Journal of the Polynesian Soc.' musique arabe et maure (1904).
XL, p. 103 fl), 1931- 1500. ROUFFAER, G. P., Keteltrommen (bron-
1481.
Melodic composition and scale zen) ('Encycl. v. Ned.-Indie' 2nd ed.,
foundations in primitive music ('Amer. vol. II, p. 305 fl), 1917.
Anthrop.' N.S. XXXIV, p. 79 fl), 1501. ROY, ROBINDRALAL, Hindusthani Ragas
1932- ('Musical Quarterly' XX), 1934.
1482. Form in Primitive Music (New 1502. Problems of Hindustani Music
York, 1933). (Calcutta/London, 1937).
^83. _ Modern Tahitian popular songs or 1503. North Indian Ragas and Melas
ute, sung by Armstrong Sperry (Inst. of ('The Journal of the Music Academy,
Human Relations, Yale Univ., Publ. in Madras' XIII, p. i fl, XIV, p. 51 fl),
Anthrop., 1932). 1942-^43.
$485. The pattern phenomenon in primi- 1504. Philosophy of Music ('The Journal
tive music ('Z. f. vergl. Musikw/ I of the Music Academy' XXII, p. 106
p. 49 fl), 1933- fl, XXIII, p. 75 fl, XXIV, p. 104
!486. Musical areas in aboriginal North fl), i95i-'53-
America ('Yale Univ., Publ. in An- 1505. On Transformation of Sthayas by
throp/ XII), 1936. Alteration of Sruti and
Consequent
1487.
.
The Viewpoint of Comparative Importance of 32 Melakartas as Spe-
Musicology ('Proc. Music Teachers Nat. cially Suited to Musical Composition
Ass/ XXXI, p. 233 fl), 1936. (ibid. XXIV, p. 70 fl), 1953-
1488. The Songs of the Nootka Indians of 1506. RUE, JAN LA, Native Music on Okinawa
Western Vancouver Island ('Transac- ('The Musical Quarterly' XXXII, p.
tions of th6 American Philosophical 157 fl), 1946.
Soc/, Philadelphia, 1955). 1507. The Okinawan notation system
1489. ROBINSON, KENNETH, Chinesische Mu- ('Journal of the American Musicol.
sik ('Die Musik in Geschichte und Soc/ IV, p. 27 fl), 1951.
"

1508. RTJEHL S.V.I)., THEODOR, Die mis-

Gegenwart' II, col. 1195 fl), 1952.
1490. ROBSON, JAMES, Ancient Arabian mu- sionarische Akkomodation im gottes-
sical instruments as described by Al- Volksgesang ('Z, f. Mis-
dienstlichen
Mufaddal ibn Salama (gth century), sionswissenschaft' XVII, p. 113 fl),
Glasgow, 1938. 1927-
14900. ROCHE, SIMONE, Collection MusSe de 1509. RTJELLE, C. E., Le Chant gnostico-
I'Homme (Paris), Catalogue prepared magique des sept voyelles grecques
by the Intern. Commission on Folk ('Proc. Intern. Congress of Musicol/,
Arts and Folklore (C.I.A.P.), Unesco, Paris, 1914).
1510. RTJNGE, PAUL, Die Notation des Soma-
Paris, 1952.

105
 natha ('Monatshefte f Musikgeschichte' - Zweikldnge im Alterum ('Fest-
1535.

-
.

XXXVI, p.
56 ff.) 1904. f
schrift-JOHANNES WOLF'), Berlin, 1929.
1511. SACHS, CURT, Ueber eine bosnische 1536. Der Gamelan ('soth Jahresbericht
('Sammelb. der Intern. der StI.Akad. Hochschule f. Musik in

-
Doppelflote
Musikges/ IX, p. 313 ff.), i9O7~'o8.
Lituus und Karnyx ('Festschrift- -
Berlin*, p. 230 fi), 1929.
Grist und Werden der Musikin-
.

R. VON LILIBNCRON'), 1910.

Reallexikon der Musikinstrumente
*I537-

-
strumente (Berlin, 1929).

1514.
- (Berlin, 1913).
Die Musikinstrumente (Breslau,
3:5^8.

1539-
- Vergleichende
(Leipzig, 1930).
^ travers un musee
d' instruments
Musikwissensckaft

1515.
-
Jedennann's Bucherei, 1923).
Die litauischen Instruments ('In-
tern. ArcMv 1 Ethnogr/ XXIII, p. I
('La Revue nmsicale* XIII, p. 212 fl),
1932.
Kongress der arabischen Musik zu

-
&), 1915-
Die Musikinstrumente Indians und
Kairo 1932

-
448
('Z.
Leipzig, 1932.
f. Musikw/ XIV, p.

-
.
ff.),
Indonesians (Berlin, 1915; 2/1923). 1541. Eine aegyptische Winkelharfe ('Z.
Die Maultrommel Ethno- f. &gypt. Sprache und Altertumskunde'
-
f.

-
.
(*Z.
logic* 1917, p. 185 ff.). LXIX, p. 68 ff.), 1933.
1518. Die Musikinstrumente Birmas und 1542. Prolegomena zu einer GesckicMe

1519. -
Assams (Munchen, 1917).
Die Namen der altdgyptischen
Musikinstrumente ('Z. 1 Musikw/ I',
der

-
Musikw/
Instrumentalmusik ('Z. f. vergl.
I), 1933.
Eine Weltgeschichte des Tanzes

1520 - p. 265 ff.), igi7-'i8.

Die Streichbogenfrage ('Archiv 1
*I543.

-
(Berlin, 1933)-
Le$ instruments de

1521. -
Musikw/ I, p. 3 ff.), 1918.
Die aUdgyptische Namen der Harfe
('Festschxift-HBRiiANN KRETSCHMAR),
I 545-
Madagascar (Paris, 1938).
Towards a prehistory of occidental
music ('Papers of the Amer. Musicol.
musique de

1522. -
Leipzig 1918.
Review of W. SCHTTBART, 'Ein
griecMsciier Papyrus mit Noten* *
Soc/ 1937, p. 91 ff., and 'The Musical

-
Quarterly
1

XXIV,
The History
p. 147 fl), 1938.
of Musical Instru-

1523.
- Musikw/ I, p. 75), 1918.
KunstgescMcMiche Wege zur
sikwissenschaft ('Archiv i. Musikw/
(*Z. f.

Mu- 1547.
3:546.

-
ments (New York, 1940).
Music History the two sides of
the coin ('Papers of the Amer. Musicol.

1524.
- p. 451 ff.), 1919.
Handbuch der Musikinstrumenten-
I,
Soc/ 1940), p. 137 ff.
The Road to Major ('The Musical
- feunde (Leipzig, 1920).
AMgyptische Musikinstrumente
1548.

-
:

Quarterly' XXIX), 1943.

The Rise of Music in the Ancient
-
3:525 3:549-
1
f Der alte Orient XXI), 1920. World East and West (New York,
2:526.

1527. -
Die Tonkunst der alten Aegypter
{'ArcMv 1 Musikw/ II), 1920.
Die Musikinstrumente des alten
3:550.
-1943).

of the
,
New views on Greek music
Amer. Musicol. Soc/ VII,
('Bull.

1527**.
-
Aegyptens (Berlin, 1921).
Der Ursprung der Saiteninstru-
mente ('Pater WBLHELM ScHMiDT-Fest-
155 x. -ff
ff.),
\

Notation
1943-
The Mystery of the Babylonian
' p. *t
3- 5

-
scbrift', p. 629 ff.), 1928.
Musik des Altertums (Leipzig,
XXVTI, p.
('The
62 ff.),
MusicalQuarterly'
(1941) and 'Papers of
1528.

1529. - ..,.,.
1924).
Die griezkiscke Instrumentalnoten'
-
the
New York
Intern. Congress of Musicology,
1939', p. 161 fl), New

1530. - Die Entnfferung einer babyloni-

scken Notenschnft
("Sitznngsber. der
1552.
York, 1944.
The Orient and Western Music
A. E. CHRISTY, 'The Asian Legacy
(in
and American Life'), p. 56 fl (New

1531. -
Preoss. Akad. d. Wiss/ XVIIL p. 120
tf-),1924.
D^
J 553 -
York, 1945).
Notes on Chinese music and dance

I53 2 - Ein
griecUsche Gesangsnotenschrift
{'Z. 1 Musikw.' VII, p. i ff.), I925 .
babylonischer Hymnus (*Ar-
('Journal of the Amer. Musicol. Soc.

-N
Ill, p. 292 fl), 1950.

-
-
te on
cMv i Mosikw/ VII, p.
1554. Egypuan Music ('Journal
i 1925. of the Amer. Musicol. Soc/ II, p. 204),

-
ff.),
*533- AnfSnge der Musik ('Bull, de 1949-
FUnion Musicologique* VI, p. 136

1534, -
1926.
>

N,
Musik der Antike (in ERNST
'Handbizch der Muakwissen-
ff.), I 555-
tion ('The Musical

-
p. 384
Rhythm and Tempo: an introduc-
Quarterly'
fl), 1952.
XXXVIII,
1556. Rhythm and Tempo. A Study in
'), Berlin, 1929. Music History (New York, 1953).

106
 SACHSSE, Palastinische Musikinstru-
mente ('Z. d, deutschen Palastinaver-
-- Lacancion cubana (Havana, 1930)
The musical folklore of Cuba
.

eins* L p. 117 ff.), 1927.

.^
('Proc. Intern. Congress of Music-
I5 5 7
. SAINT-SAENS, CAMILLE, Lyres et ci- ology, Sept. 1939', p. 284 ff.).
thares (in LAVIGNAC, 'Encycl. de la 1577. SANDVIK, O. M., Norsk Folkemusik,

I557
fl -
Mus.' ire partie, vol. I, p. 538 ff.), 1912.
SAIONJI, YOSHIKAZU, Nikon Minyo
Taikan: Kanto-hen (A Survey of Japa-
I57 8. -
saerlig

tur.
0stlandmu$ikken (1921).
Norsk folkmusikk ('Nordisk Kul-
Musikk och Musikkinstrumenter',
nese Folksong), vol. I (Japanese Broad-
casting Corporation, Tokyo, 1953).
SALDIVAR, GABRIEL, Historia de la I5 8o.
-
p. 128

- ff.), 1934.
0sterdalsmusikken (Oslo, 1943).
Folkemusikk Gudbrandsdalen

-
!558. i
musica en Mexico (Mexico, 1934). (Oslo, 1948).
1559-
SALMEN, WALTER, Towards the explo- I5 8i. Norwegian Folk Music ('Grove's
ration of national
idiosyncrasies in Dictionary' 5th ed. vol. HI, p. 322 ff.),
wandering song-tunes ('Journal of the 1954-
Intern. Folk Music Council' VI, p. 52 1582. SAPIR, EDWARD, Song recitative in
1954- Paiute mythology ('Journal of Arner.

-
ff.)>

1560. SALVADOR-DANIEL, FRANCESCO, The Folklore' XXIII, p. 455 ff.), 1910.

Music and Musical Instruments of the 1583. Texts of the Kaibab Paiutes and
Arab, with Introduction on How to Uintah Utes ('Proc. Amer. Acad. of
appreciate Arab Music (edited with Sciences' vol. 65, p. 297 ff.), 1930.
notes, memoir, bibliography and musi- 1584. SARGEANT, WINTHROP, A Study in East
cal examples by HENRY GEORGE Indian Rhythm ('The Musical Quar-

1561.
FARMER), London/New York, 1915.
SAME AMURTHY, P., Elements of Kar- -
terly' XVII), 1931.
Types of Quechua melody ('The
- -
natic Music (Madras,
South Indian Folk Music ('Indian
1929). Musical Quarterly' XX, p. 230 ff.),
1562.

^63.
-
Art and Letters' VI, p. 32 ff.), 1932.
The teaching of music ('The Jour-
nal of the Music Academy, Madras'
1934-
1586 SAS, ANDRE, Apercu sur la musique
inca ('Acta Musicologica* VI, p. i ff.),

1564.
-
XI, p, 48 ft), 1940.
Music in training schools (ibid.
1587. SATYADEVA, GEETA, North Indian
Music Today ('United Asia* III No. i,
India Number, p. 57 ff.), 1950.
1565. Comparative Music, a reply (ibid. 1588. SAVILLE, M. H., A primitive Maya

1566.
-
XIII, p. 87 ft), 1942.
The Wallajapet Manuscripts (ibid.
musical instrument ('American Anthro-

-
pologist' X No. 8), 1897.
The musical bow in ancient Mexico
XIV, p. 86 ff., XVIII, p. 114 ft), 1943
-
and 1947.
The Flute; a Study containing a
short account of its History, Antiquity
1589.
(ibid. XI No. 9), 1898.
1590. SAYGXJN, AHMED ADNAN, Le receuil et
la notation de la musique folklorique
and Laws together with full Instructions ('Journal of the Intern. Folk Music

I5 68.
-
for Practice (Madras, 2/1943).
The origin of some ragas ('The
Journal of the Music Academy, Madras'
1591. -
Council' I, p. 27 ff.), 1949.
Des danses d'Anatolie et de leur
charactere rituel 10

-
II,

-
(ibid. p. ff.),

XVI, p. 73 ff.), 1945- I95>.

I ^6g. Survival of the useful and the 1592. Authenticity in Folk Music (ibid.
beautiful in the realm of music (ibid. Ill, p, 7 ff.), 1951.

1570.
-
XVII, p. 80 ft), 1946.
South Indian Music, vols. I-IV
(The Indian Music Publishing House,
Turkish Folk Music
('Grove's
Dictionary' 5th ed. vol. Ill, p. 384

-
Madras), 4th ed. 1 948^49
Madras as a Seat of Music
.
fl), 1954-
1594. SCHAD, GTJSTAV, Musik und Musik-
ausdrucke in der mittdenglischen Lite-
i$ji.

-
.

Learning (Madras, 1949). ratur (Diss., Giessen, 1911).

Sastri and other famous SCHADEN, FRANCISCO S. G., Musica e
1572. Syama 1595.
Danga entre os Indies do Brasil ('Pau-
composers (Madras, 1949)-
SAMINSKY, LAZARE, The music of the listania' XXVI, p. 13 ff.), Sao Paulo,
1573.
peoples of the Russian Orient ('The Mus. 1948.
1

Quarterly VIII, p. 346 ff.), 1922. 1596. SCHADENBERG, ALEX., Musik-Instrn-

1574. SANCHEZ DE FUENTES, EDUARDO, El mente der Philippinen-Stamme (*Z. f.
en la musica cubana (Havana, Ethnologie' XVIII, p. (549) ff-), **&>.

.
-
folklore
1923)-
Influencia de los ritmos afncanos
en nuestro cancionero (Havana, 1927)-
1597. SCHAEFFNER, ANDRE, Notes
SWT la
musique des Afro-americains ('Le Mene-
streF 25/6-6/8, 1926).

107
 - jyune nowjelle
thodique des instruments
classification
de musique
me- Ancient ('Sammelb. der Intern. Musik-
ges/ II, p. 167 ft), igoo/'oi.
vol. II, p. 215 . The Instruments of the Modern
{'Revue musicale' XIII,

-
ft), 1932.
Note sur la filiation des instru-
ments a cordes ('Melanges de Musi-
Orchestra and Early Records of the
Precursors of the Violin Family (Lon-
don, 1910).
offerts & M. LIONEL DE LA *i6i8. A Bibliography of Musical In-

1600 -
cologie
LAUREHCIE'), Paris, 1933.
Notes sur la musique des popula-
tions du Cameroun septentrional ('Mino- jgjg,
struments and Archaeology (London,
1912).
The precursors of the violin family

1601 -
tauxe* no. 2, p. 65 ft), 1933-
Parmi les origines corporelles
instruments de musique ('Le Menestrel'
des j6 2 o.
(London, 1914).
The Basis of Indian Music
('Musical Times' LVI, p. 335 ft), 1915.

-
XCVI, p. 65 ft, 77 ft and 89 ft), 1934-
Origines des instruments
de
1621. Commentary on the musical in-
struments in AUREL STEIN, 'Serindia'

-
.

musique (Paris, I9S&)- (London, 1921).

Contribution a V etude des instru- j6 2 2. Is European Musical Theory
ments de musique d'Afrique et d'Oceanie indebted to the Arabs? (London, 1925).
rendu de la 2ieme session du 1623. The Question of an Arabian
(Compte
Comgres intern, des sciences anthropolo- Influence on Musical Theory ('Musical
et ethnologiques, p. 268 ff.), Standard' N.S. XXV, p. 148 ff. and
giques

1604.
-
Copenhagen, 1939.
Musique primitive ou exotique et
musique moderns d'Occident ('Melanges
.
i6oft), 1925.
The Greek Foundations of the
Theory of Music ('Musical Standard*
offerts a ZOLTAN KODALY', p. 213 ff.), XXVII N.S., p. 23, 44, 62, 96, 109,

1605.
-
1943-
Sur deux instruments de musique
des Batas (Nord-Cameroun) ('Journal de 1625.
134, 162, 177, 197, 208; XXVIII N.S.,
p. 31 and 44 (1926).
The Greek Aulos (London, 1939).
la Soc. des Africanistes* XIII, p. 123 1626. SCHMELTZ, J. D. E., Das Schwirrholz

2606. -
ff.), 1943-
L^instruments de musique (La
Musique des origines a nos jours', ed.
.
ftr

^627,
('Verhandl. des Vereins f. naturwiss.
Unterhaltung zu Hamburg' IX), 1896.
A primitive musical instrument

-
Larousse, p. 13 ff.), 1946.
La musique noire d'Afrique (ibid.,
('Intern.
89 ft), 1898.
Archiv f. Ethnogr.' XI, p.
1607.

1608. -
p. 460 ff.), 1946.
D&cmaerte de la musique noire
1628. SCHMIDT, FATHER WILHELM, Ueber
Musik und Gesange der Karesau Papuas

-
f Presence africaine*, 1950).
Les instruments de musique en pays
(Kongressbericht
Vienna, 1910).
Intern. Musikges.
1609.

1610. -
Kissi (Paris, 1950).
Une importance d&couverte avM-
ologique: U litkophone de Ndut Lieng
1629. SCHMIDT-ERNSTHAITSEN, V., Ueber die
Musik der Eingebornen von Deutsch
Neu-Guinea ('Vierteljahrschr. f. Musik-
Krmk (Vietnam] ('La Revue de Musi- wiss.' VI, p. 268 ft), 1890.

i6ioa. - XXXIII, p. i ff.), 1951-

cologie'
Musique -populaire et art musical
('Journal de Psychologic normale et
1630. SCHMIDT-LAMBERG, HERBERT, Chorge-
sang im schwarzen Afrika ('Der Chor'
III, p. 151 ft), 1951.
patliologiqne*. Jan./June 1951, p. 237 16300. Ghorgesang bei exotischen Vol-

1611. -
ff.}.
Timbales et longues
de rinst. Francais d'Afrique
(*BuH.
trompettes 1631.
kern (ibid. II, p.
SCHNEIDER,
Mehrstimmigkeit.
119
MARIUS,
I.
ft), 1950.
Geschichte
Die Naturvolker
der

XIV, p. 1466 ff.), Oct. 1952.

Noire* (Berlin, 1934), II. Die Anfdnge in
1612. SCHIFFER, BRIGITTE, Die Oase Siwa Europa (Berlin, 1935).
mzd iJa>*e Mwsik (Berlin, 1936). 1632. Ueber die Anwendung der Tonali-
*i6i3. SCHIIOCERLING, H. A., Folk Dance tdtskreistheorie auf die Musik der
Music of tke Slamc Nations (New orientalischen Hochkulturen und der
York, 1951)- Antike (in collab. with J. W. SCHOTT-
1614. ScKOTHAJN;, JAN P., The music of the LANDER) ('Z. f. vergl. Musikw/ III, p.
Papago and Yurok ('Bull, of the 50ft), 1935.
American Musicol. Soc/ 1, p. 13 ff.), 1936. !633. Ges&nge der Gogadara (in P.
1615. SCHLAGBR, ERNST, Bali ('Die Musik in WIRZ, 'Die Gemeinde der Gogadara'
GescMchte und Gegenwart* I, col. 1109 ('Nova Guinea' XVI)), 1934.
ff.), 1950. 1634. Siriono-Gesang (in H. SNETHLAGE,
1616. SCKLESINGER, KATHLEEN, Researches Nachrichten) ('Z. f. Ethnologic' vol.
into the Origin of the Organs of the 67)* 1935-

108
i635- Gesange aus Uganda ('Archiv f. 1657. Contribucitin a la musica del
Musikforschung' 1937). Matto Grosso ('Anuario Musical' VII),
1636-
Ueberdie Verbreitung afrikanischer
Chorformen ('Z. f. Ethnologie' vol. 69,
p 79 ff.), 1937-
1658. -
1952.

alien
Die Bedeutung der Stimme in der
Kulturen ('Tribus, Jahrbuch des
Deutsche Volkslieder aus Argen- Lindenmuseums'
1637-

1638.
tinian ('Archiv f. Musikforschung' 1937).
- Ethnologische Musikforschung (in
K. TH. PREUSS, 'Lehrbuch der Volker-
1659. -
Stuttgart, i952/'53-
II/III,

Die musikalische
Singende Steine.
Grundlagen der Kapitalordnung in drei
p. 9 fl),

kunde', p. 125 1937, 2/1956. katalonischen Kreuzgangen des 12. ]ahr~

-
ff.),

1639-
Ueber die wdrtliche und gestalt- hunderts (Kassel, 1955).
massige U eberlieferung wandernder Me- 1660. Arabischer Einfluss in Spanien?
lodien ('Archiv f. Musikw.' 1938, p.

1640.
363
.
ff.)-.
Die musikalischen Beziehungen
zwischen Urkulturen, Altpflanzern und
1 66 1. -
('Kongressbericht Bamberg 1953' P-
175 fl), 1954.
Flamenco ('Die Musik in Ge-
schichte und Gegenwart' IV, col. 283

1641-
fartenvolkern ('Z. f. Ethnologic' vol.
70, p. 287 ff.), 1938.
. Kaukasische Parallelen zur mit-
i66ia. - -).1954-
Primitive Music ('The New
Oxford History of Music' 3rd ed., vol.
telalterlichen
Mehrstimmigkeit ('Acta I). 1955-
Musicologica' XII), 1940. 1662. SCHNEIDER, THEKLA, OrganumHydrau-
1642.
.
Lieder aegyptischer Bauern (Fel- licum ('Die Musikforschung' VII, p. 24
lachen) ('Festschrift-KODALy', p. 154 fl), 1954.
fl), Budapest, 1943. 1663. SCHOLE, H., TonpsychologieundMusik-
1643-
Phonetische und metrische Korrela- dsthetik (1930).
tionen bei Ewe-Volkern ('Archiv f. vergl. 1664. SCHULLIAN, D. M., and M. SCHOEN,
Phonetik' VII), iQ43/'44. Music and Medicine (New York, 1948).
1644.
El influjo Arabe en Espana 1665. SCHXJNEMANN, GECKO, Kasantotarische
('Anuario Musical' I), 1946. Lieder ('Archiv Musikw.* 499
-
f. I, p.
1645- El origin musical de los animales ff.), iQiS/'ig.
simbolos en la mitologia y la escultura x666, Ueber die
Beziehungen der ver-
antiguas (Barcelona, 1948). gleichenden Musikwissenschaft zur Mu~
1646. La cancidn de cuna en Espana sikgeschichie ('Archiv. f. Musikw.' II,
('Anuario Musical' III), 1948. p. 175 ff.), I9i9/'20.
1647. La danza de espadas y la tarantela 16660. SCOTT, J. E., Roman Music ('The
(Barcelona, 1948). New Oxford History of Music*, 3rd
1648. Estudio etnoldgico comparative sobre ed., vol. I), 1955.
los cantos de Iluvia en Espana ('Anuario i666&. SCOTT, R. R., Kenya Exhibition of
Musical' IV), 1949* musical instruments from Uganda and
1649. Australian und Austronesien ('Die demonstration of Uganda music ('Afri-
Musik in Geschichte und Gegenwart' I, can Music Society Newsletter' I, No.
col. 869 ff.), Kassel, 1950. 2, p. 22 fl), 1949.
1650. La, relation entre la mSlodie et le 1667. SCULLY, NORA, Native tunes, heard and
langage dans la musique chinoise ('Anu- collected in Basutoland ('Bantu Studies'
ario Musical' V), I950 f V, p. 247 fl), 1931.
1651. Die historische Grundlagen der 1668. SEASHORE, CARL E., Psychology of
musikalischen Symbolik ('Die Musik- Music (New York/London, 1938).
forschung' IV, p. 113 fl), I95 1 - 1669. SEDER, THEODOR A., Old World Over-
1652. 1st die vokale Mehrstimmigkeit tones in the New World (Philadelphia,
eine Schopfung der Altrassen? ('Acta University Museum, Bulletin XVI, No.
Musicologica' XXIII, p. 40 fl), 1951- June 1952.
4),

I&53- Mtisica en las Philipinas ('Anua- 1670. SEEGER, CHARLES, U.S.A. folk Music
('Grove's Dictionary' 5th ed. vol. Ill,
1654.
rio Musical' VI, p. 91 ff.), 1951-
Catdlogo de los instrumentos musi-
cales 'igorrotes' conservados en el Mu&eo
Etnoldgico de Madrid (in collab. with
-
p. 387 ff.), 1954-
An instantaneous music notator
('Journal of the Intern. Folk
Music
M. GARCIA MATOS) ('Revista de Antro- Council' III, p. 103 ff.), 195*-
1671. SEEGER, PETER, How
to play the 5-
pologfa' IV), 1951.
1655- Cancionero de la provincia de stringed Banjo (2nd ed., Beacon, N.Y.,
Madrid, vols. I and II (Barcelona, 1951 *

and 1952). 1672. SEEWALD, OTTO, Beitr&ge zur Kenntnis

1656, Zur Trommelsprache der Duala der steinzeitlichen Musikinstrumentt
('Anthropos' XLVII, p. 235 ff.), 195*- Europas (Vienna, 1934)-

109
 - Sviralkje s udarnim jezigkom
1673- SELER,

X 674.
Musikinstrumente
1899.
EDUARD, Mittelamerikanische
('Globus' LXXVI),

Altmexikanische Knockenrasseln
3-580, -
(Zagreb, 1937).
.

Summary in German of the

foregoing important publication in
'Bull. Intern, de TAcad. Yougoslave des
(*Z. L Ethnologic' XLVTII), 1916.
Note on a wooden Sciences et des Beaux Arts' IX, p. 155-
1675. SELIGUANN, C. G.,
Horn or Trumpet from British New-
Guinea ('Geographical Journal* XXVII,
-
184, (1937)-
Hrvatske Narodna Glazba (Zagreb,

p. 225 fi), 1906.

1676. SENA, DEVAR STOYA,
Folk Songs of
of the Intern. Folk
-
1942).
Kroatische Volksmusikinstrumente
('Melanges offerts a ZOLTAN KODALY* p.
Ceylon ('Journal
Music Council' VI, p.
ft), 1954- u ii 4 ff.), 1943-
1692. SLONIMSKY, NICOLAS, Cuban Folk
*i677- SENDREY, ALFRED, Bibliography of
Music ('Grove's Dictionary* 5th ed.
Jewish Music (New York, 195*)-
1678. SHARP, CECIL J., English
from the Southern Appalachian
Folk Songs
Moun-
tains {edited by MAUD KARPELES), Lon-
1693.
-
vol. Ill, p. 214 ff.), 1954-
Danish Folk Music ('Grove's
Dictionary* 5th. ed. vol. Ill, p. 223 ff.),

jfcyg.
don, 1932, 2/1952.
English Folk Song, Some
con-
clusions (London, 1907), revised by
-
1954-
Mexican Folk Music
Dictionary* 5th ed. vol. Ill, p. 314
('Grove's
ff.),

MAUD KARPELES, (London, 3/1954)- 1954-

1680. SHELFORD, R., An
Illustrated Catalogue 1695. SMITH, B. J., Musical saga of Samoa
of the Ethnographical Collection of
the ('Etude' LX, p. 369), 1942.
Serawak Museum. Part I. Musical 1696. SMITH, H., The World's Earliest Music
Instruments ('Journal of the Straits (London, 1904).
Branch of the R. Asiatic Soc.' No. 40, SNELLEMAN, JOH. F., Muziek en
1904-
Muziekinstrumenten ('Encycl. v. Neder-
p. 3 ff.),
i68oa Siamese music, Score and parts (for landsch-Indie', 2nd. ed. vol. II, p.
Pi nai, Ranad Ek -f Ranad
resp.
812 ff.), 1918.
Lek, Gong wmg yai, Gong wong lek, 1698. SNETHLAGE, EMIL HEINRICH, Musik-
Ranad Thume, Thume Lek, Ching -f instrumente der Indianer des Guaporl-
Tapone + Klong thad -j- Charb yai -h gebietes ('Baessler Archiv', Beiheft, Ber-
Mong) of the piece 'Evening Prelude' (for lin, 1939)-
SNOWDEN, A. D., Some Common
Piphat orchestra), Bangkok, undated. 1699.
1681. SICHARD, WOLFGANG, Der alpenlandi- Musical Instruments found among the
sche Jodler und der Ursprung des Native Tribes of Southern Rhodesia
Jodelns (Berlin, 1938). (*Nada, the Southern Rhodesia Native
1682. SICHEL, A,, Histoire de la musique des Affairs Dept. Annual' No. 16, p. 72 ff.),
Malgaches (in LAVIGNAC, 'Hist, de la Salisbury, Rhod., 1939.
Mus/ V, p. 3227 ff.), 1907. 1700. SSDERBERG, BERTIL, Musical Instru-
l682tf. SlEBERSBECK, BEATRICE DOHME, and ments used by the Babembe ('Ethnos'
DRAGBR, HANS-HEINZ, Fidel. II. Die XVII, p. 51 ff.), 1952.
Fidel im Abendland ('Die Musik in 1701. SOLVIJNS, F. BALTAZARD, Les Hindous
Geschichte und Gegenwart* IV, col. 158 (Paris, i8o8/*i2) (4vols.).
ff.), 1954- 1702. SOMERVEL, T. HOWARD, The Music of
1683. SIMBRIGER, HEINRICH, Klangsteine, Tibet ('The Musical Times' LXIV),1923.
SteinspieU und ihre NachbUdungen in 1703. SOULIE, GEORGES, La Musique en
Metall ('Anthropos* XXXII, p. 552 ff.), Chine (1911),
1937. 1704. SOURIAU, E., Autorite humaine de la

*i684. Gong und Gongspiele ('Intern. musique ('Polyphonic* 1950, No. 7-8,
Arch. 1 Ethnogr.), Leyden, 1939. P 24 ff.).
.

1685. SIMON, RICHARD, Die Notationen des 1705. SPASOW, VASIL, Volksmusik, Mustkin-
Somanatha {'Sitzungber. PhiL-Klasse d. strumente und Tanze der Bulgaren
KgL Bayrische Akad. d. Wiss.' 1903, p.
452 ff.). 1706. SPECK, FRANK G., Ceremonial songs of
1686. Notationen der vedischen Lieder- Creek and Yuchi Indians ('Anthrop.
the
bucher ('Wiener Zeitschr. f. d. Kunde d. Publ. Mus. Univers. Pennsylvania* II,
Morgenlandes' XXVII, p. 305 ff.), p. 155 ff.), 1911-
1913- 1707. SPEIGHT, W. L., Notes on South African
1687. SiROLA, BO^IBAR, SopiU i Zurle native music ('Musical Quarterly' XX,
(Zagreb, 1932). p. 344 ff.), 1934.
ID8 7flp . Fukalice smraljke od kore svjeMeg 1708. SPIES, WALTER, Bericht uber den
drneta (2^agreb, 1932). Znstand vou Tanz und Musik in der
 Negara Gianjar ('Djawa' XVI, p 51 1728. Music in Malaya (ibid. XI, p. 506
ft), 1936.
fl), 1925.
e Gamelanwedstrijd te
^709. Gianjar 1729. The Cambodian ballet (ibid. XII,
(ibid. XIX, p. 197 fi.), 1939. p. 266 fl), 1926.
I7 io.-
and BERYL DE ZOETE, Dance
1730. Aboriginal and animistic influen-
and Drama in Bali (London, 1938, ces in Indian music
(ibid. XV, p. 371 fl),
2/1953)- 1929!
1711.
SPREEN, HILDEGAARD N., Folkdances of I73 i. The mythological background of
South India (London, 2/1948). Hindu music (ibid. XVII, p, 330 ff.),
1712.
STAINER, JOHN, Music of the Bible 1931.
(new ed. by FR. GALPIN), London, 1732. STUMPF, CARL, Musikpsychologie in
1914. England. Betrachtungen uber die Her-
1713. STANNUS,
HUGH, A
rare type of musical
leitung der Musik aus der Sprache
instrument from Central Africa ('Man' und aus dem tierischen Entwicklungs-
XX 3, No. 20), 1920. prozess, uber Empirismus und Nativis-
1714. STARKIE, WALTER, Gypsy Music ('Gro- mus in der Musiktheorie ('Viertel-
ve's Dictionary' 5th ed. vol. Ill, p. 859 1 Musikw.'
jahrschr. I, 1885).
ft), 1954- 1733. Lieder der Bellakula-Indianer
17 15. STEFANISZYN, B., The Hunting Songs ('ibid. II, 1886; 'Sammelb. 1 vergl.
of the Ambo ('African Studies' X, p. i Musikw/ I, 1922).
fi), March 1951. 1734. Review of ALEXANDER J. ELLIS,
1716. STEINMANN, ALFRED, Ueber anthro- 'On the musical scales of various
pomorphe Schlitztrommeln in Indonesien nations* ('Vierteljahrschr. 1 Musikw.'
('Anthropos' XXIII, p. 240 fl), 1938. II, p. 511 fl), 1886.
1717. STERN, PHILIPPE, The music of India 1735. Mongolische Gesdnge (ibid. Ill,
and the theory of the raga ('Indian Arts 1887; 'Sammelbande 1 Musikw/
vergl.
& Letters', N.S. VII, p. i ff.), 1933. I, 1922).
1718. STEVENSON, ROBERT, Music in Mexico 1736. Tonpsychologie, vol. I (1883); vol.
(New York, 1952). II (1890).
17180. STEWART, J. L., Northern Gold Coast 1737- Uber Vergleichungen von Tondis-
Songs ('African Music Society News- tanzen ('Z. 1 Psychol. und Physiol. der
letter' I, June 1952, p. 39 ff.).
Sinnesorgane' I), 1890.
1719. STOIN, VASSIL, Hypothese sur I'origine 1738. Phonographierte Indianermelodien
bulgare de la diaphonie (Sofia, 1925). ('Vierteljahrschr. 1 Musikw/ VIII,
2720. Bulgarska narodna muzika: me- 1892; 'Sammelb. 1 vergl. Musikw/ I,
trika i ritmika (Sofia, 1927). 1922).
1721. Narodni pesni ot Timok do Vita 1^39. Di e pseudo-aristotelischen Probleme
(Sofia, 1928). uber Musik ('Abhandl. der preuss.
1722. Svirka Dvoyanka ('BuU. du Muse"e Akad/ 1896/97).
Nat. d'Ethnogr.' XII, p. 86 ff.), Sofia, 1740. Geschichte des Konsonanzbegriffes,
1936. vol. I (Altertum) ('Abhandl. der Bay-
1723. STOLL, DENNIS GRAY, The 'Graces* of rische Akad/ 1897).
Indian Music ('Asiatic Review* N.S. 1741. Konsonanz und Dissonanz (*Bei-
XXXVIII, p. 167 fl),1942. trage zur Akustik und Musikwissen-
1724. STOWEL, H. M., An ancient 'flute-song' schaft', fasc. i), 1898.

('Journal of the Polynesian Soc/ 1742. Maassbestimmungen uber die Rein-

XXVII, p. 222 fl), 1918. heit konsonanter Intervalle (in collab.

STRANG, GERALD, The sliding tones in with M. MAYER) ('Z. 1 Psychol. und
1725.
oriental music ('Bull, of the Amer. Physiol. der Sinnesorgane* XVIII),
Musicol. Soc.' VIII, p. 29 fl), 1945. 1898.
Tontabellen (in collab. with K. L.
1726. STRELNIKOV, J. D., La musica y la
danza de las tribus indias Kaa-Ihwua SCHAEEER) ('Beitrage zur Akustik und
(Guarani) y Botocudo ('Proc. of the
Musikw/, fasc. 3), 1901.
23rd Congr, of Americanists' 1928, p. 1:744. Tonsystem und Musik der Sia-
796 ff.), New York, 1930. mesen (ibid., fasc. 3, 1901 ; 'Sammelb. 1
vergl. Musikw/ I, 1922).
17260. STREHLOW, T. G. H., Australian abo-
riginal songs ('Journal of the Intern.
. Das Berliner Phonogrammarchw
Folk Music Council' VII, p. 37 ff.), Wochenschr/, 1909)-
('Intern.
1955- . Die Anfange der Musik ('Intern.
1727. STRICKLAND- ANDERSON, LILY, Rabin- Wochenschr/ 1909).
dranath Tagore, poet-composer ('The 1747. Konsonanz und Konkordanz ('Fest-
Musical Quarterly' X, p. 463 fl), 1924. schr,-R. VON LILIENCRON, 1910), En-

Ill
 concernant les instruments de musique du
larged: nebsi Bemerkungen uber Wohl-
* Japan ('Art populaire' II, p. 130), 1931.
klang und WohlgefdUigkeit ('Z.
The Character of Japanese Music
der Sinnesorgane I? 68.
Psychol. u. PhysioL

174 g -
LVTII), 1911-
jjeber die Bedeutnng ethnologischer
Unterswhungen fur die Psychology
und
('Japanese Music'), Tokyo, 1953.
17680. TANJ&EjteSAWO,Equaltenipered$cales
of less than 12 tones
in the Far East and a
new proposal for a 14 tone equal tempera-
Aesthetik der Tonhunst (in collab.
with
ment ('Journ, of the Soc. for Research
E. M. VOH HORNBOSTEL) ('Kongressbe-
in Asiatic music' 9), March, 1951.
richt 4th Congress of the GeseHsch.
f.

-
experimentelle Psychologie
191 1')
Dig Anfange der Musik (Leipzig,
- 5.769.
. J)ie Weltbedeutung der aUen chine-
sischen Musik ('Die Musikwelt', Shang-
Iy49 ,

50 .
- Singm und
Psychol, u. Physiol.
Sprechen ('Z.
der Sinnesorgane
f. 1770.
hai 1923, fasc. 4).
TANAKA, S,, An Investigation of the
Tuning of the Siamese Seven Tone

IJ5I .
_
XCVI), 1923-
Dw Expenmentell-
Sprachlaute.
p,honelische Untersuchungen
nebst einem
Equal Tempered Scale (* Journal of the
Soc. for Research in Asiatic Music' IX,
p. i fl) *95i-
V invention de I'hydraulis
1771. TANNERY, P.,
AnJutng uber Instrummtalklange (Ber-
('Revue des Etudes grecques' XXI),
lin, 1926)-
Music (London, 1908.
1753- SUNAGA, K., Japanese TAPPERT, WILHELM, Wandernde Melo-
1772.
1936),
dien (Leipzig 1868, 2/1890).
1754. SWARUP, RAI BAHADUR
BISHAN, Theory
Indian Music (Swamp Brothers, 1773. TATE, H., Australian aboriginal music
of
Maithan, Agra, 1933)- ('Canon' V, p. 249 ft), 195*-
on Musical Instru- *I774. TAYLOR, C. R. H.,
A
Pacific Biblio-
1755. SYKES, M., Notes
ments in Khorasan f Man' IX), 1909. graphy (Wellington, 1951), PP- 46, 79,
BENCE, The Eastern Re- 129, 188, 227, 242, 256, 298, 319, 333,
1756. SZABOLSCT,
Early Hungarian Folk-Music
lotions of 345. 434> aa <l 446.
3i
Asiatic Soc.' 1935, THALBITZER, WILLIAM, and HJALMAR
('Journal of the R.
1775.

1757 .
-
p. 483 ft).
Morgenlmnd und Abendland
in der

nngarischen Volksmusik ('Ung. Jahrb/

1775a.
THUREN, La musique chez les Esquimaux
(*Mercure musical', 1911).
Eskimomusik und Dichtkunst in

I75 g.
-
XVIII, p. 202 ff.), Berlin, 1938.
A primitiv dallamossag: a Jiang-
lejt&sM az otfokvsdgig (Primitive
Mel- I77 6.
Gronland ('Anthropos' VI, p. 485
1911.
Ugendes et chants esquimaux du
ff.),

odik: vom TcmfaU zur Pentatonie) (in Greenland (1929)-

ZOLTAN KODALY ^ Eskimo-Liederen van Oost-Groen-
'Melanges efforts & J777,
1'occasion de son 6oieme anniversaire' land (Santpoort, 1933)-

1759.
-
p. 19 ff.}, Budapest, 1943.
Fiae-Tone Scales and Civilization
{" Acta Musicologica' XV, p. 24 fi), 1943-
1778. THORSTEINSSON, B., Folkelig Sang og
Musik paa Island ('Nordisk Kultnr.
Musikk och MusikMnstrumenter', p.

1760. TAGORE, SURINBRO MOHUK, Short 139 ff-)* *934-

Notices of Hindu Musical Instruments 1779. THUREN, HJALMAR L., The Eskimo

17 61.
-
(Calcutta, 1877).
Hindu Music from various
(Calcutta, 1882).
authors I7 8o.
Music (1912).
and WILLIAM THALBITZER, Musik
aus Ostgronland: Eskimoische Phono-
1762. TAIG, TH., Rhythm
and Metre (193)- ('Z. der Intern. Musikges.' XII,
gramme
1763. TAKACS, JENO VON,f Arabische Musik
in p. 33 .), I9io.

Aegypten (*Anftakt IX, p. 241 ff.), 1929.
TAKEDA, CHUICHIRO, Songs of the
176311.
Mongols, notations and explanations
f Journal of the Soc. for Research in
Asiatic music' xo/ii.p. 670.), Dec. I95 2
1764. TART, R., On the P'i-p'a or Chinese
lutes f Journal of the Soc. f. Research
in A^aiic Music' 9, p. 6 ff.), March
TAKOHO, KJYOSI, Theorie der japani-
1765.
1780^. THTJRSTON DART, R., Notation ( Gro-
ve's Dictionary of Music and Musians'
5th ed. VI, p. 108 ff.), 1954-
1781. TIERSOT, JULIEN, Histoire de la chanson
-
populaire en France (Paris, 1889).
1782. Chansons negres (Paris, 1933)-
1783. TIESSEN, HEINZ, Musik der
Natur.
Ueber den Gesang der Vdgel, insbe-
sondere uber Tonsprache und Form des
Amselg&sanges (Atlantis-Verlag, 1953).

3-766.
-
schen Musik (1935).

schen
BeUrage zur Geschichte der japani-
Musik ('Archiv f. Musikfor-
1784. TILLYARD, H. JULIUS W., Byzantine
Music ('Grove's Dictionary of Music
and Musicians* 5th ed. vol. I, p. 1068
sclmiig' II, p. 340 ff.), 1937- . ft), 1954-
1767, TAJI ABE, HIDEO, Les etudes recentes 1785. TIREN, K., Die lappische VolhsmusiR

112
 ('Acta lapponica* III, p. 155 ff.), . the Zuni Indians and their music
1786.
TOOR, FRANCES, A Treasury of Mexican (Philadelphia, 1913).
Folkways, p. 299 ff. Part. III. Music- 1805. TRUBETZKOY, PRINCE N. Zur
S.,
Verse-Dance (New York, 2/1947). Struktur der Mordwinischen Melodien
1787.
TORHOUT, NIRGIDMA DE, and M. ('Sitzungsber. d. Oestenr. Akad. d.
HUMBERT-SAUVAGEOT, 18 Chants et Wiss.' vol. 1933, P- 106 ff.).
Poemes mongols (Paris, 1937). 1806. TUCKER, A. N., Tribal Music and Dan-
fl. TORNER, EDUARDO MARTINEZ, Biblio-
cing in the Southern Sudan (London,
graphie du folklore musical Espagnol 1933).
('Art populaire' II, p. 159 ff.), 1931. 1807. Childrens games and songs in the
1788. TRACEY, HUGH
T., Native music and Southern Sudan ('Journal of the
the church ('Native Teacher's Journal* Royal

-
XI, p. no fl), 1931/32.
Chief above and Chief below, a
1808.
Anthrop. Inst.' LXIII), London,
URSPRUNG, OTTO, Um die Frage nach
1933.

dem arabischen bzw. maurischen Einfluss

1789.

jygo^
-
musical play for Africans (1944).
Ngoma, an introduction to
for Southern Africans (London, 1948).
Music
auf die abendldndische Musik des Mittel-
alters ('Z. f. Musikwiss.' XVI,
and 355 ff.), ^34.
p. 129 ff,

Chopi Musicans. Their Music, i8o8a. VAISANEN, A. O., Vaindmoisen kantele

1791.

-
Poetry and Instruments (Oxford, 1948),
Lalela Zulu (100 Zulu Lyrics),
kuvissa ('Kalevalaseuran vuosiMrja' V,
1792.

J7Q3-
-
1949-
African Dances of the Witwaters-
rand Gold Mines (with photographs by
1809.
p. 191 ff.), Helsinki, 1925.
Das Zupfinstrument gusli bei den
Wolgavolkern ('Suomalais Ugrilaisen
Seuran Toimituksia' LVIII, p. 303 ff.),

1793*1.
-
Merlyn Severn), Johannesburg, 1952.
Musical Wood ('African Music
Society Newsletter* I, No. 2, p. 17 ff.),
1810.
Helsinki, 1928.
Kantele und Streichleier ('Suomen
Kansan Savelmia' V), 1928.

1794.
-
1949.
The Folk Music in Bantu
state of
Africa ('Journal of the Intern. Folk
1811. Die Leier der ob~ugrischen Volker
('Eurasia septentrion. antiqua* VI, p.
15 ff.), Helsinki, 1931.
Music Council' VI, p. 32 ff.), 1954. 3:812. Wogulische und ostfakische Melo-
1795. Bantu Music ('Grove's Dictionary* dien ('Suomalais Ugrilaisen Seuran
5th ed. vol. I, p. 416 ff.), 1954. Toimituksia' LXXIII), Helsinki, 1937.
problem of the future of 1813. Wirklichkeitsgrund der finnisch-
Bantu music in the Congo ('Problemes estnischen Kantelerunen ('Acta Ethno-
d'Afrique Centrale* VII, p. 272 ff.), 1954. logica* I, p. 31 ff.), Copenhagen, 1938.
1796. TRAYNOR, LEO, and SHIGEO KISHIBE, 1814. Die Ob-ugrische Harfe ('Finnish-
The four unknown pipes of the Sho ugrische Forschun.gen* XXIV, p. 127
(mouth organ) used in ancient Japanese ff.), 1937.
court music ('Journal of the Soc. f. 1815. Untersuchungen uber die ob-ugri-
Research in Asiatic Music' IX, p. 26 schen Melodien (Helsinki, 1939).
fl), March 1951. !8i6. Die Kantele der Wepsen ('Melanges
1797. TREBITSCH, R., Phonographische Auf- offerts k ZOLTAN KODALY', p. 377 ff,),
nahmen in und einiger
Irischer Sprache 1943-
Musikinstrumente in Irland und Wales Finnische Volksmusik ('Der Nor-

1798.
-
(1908).

der
Phonographische Aufnahmen in
Sprache und zweier
bretonische
1817,

1818.
den' XX, p. 196 ff.), 1943.
Mordwinische Melodien (Helsinki,

1799.
-
Musikinstrumente in derBretagne (1908).
Baskische Sprach- und Musikauf-
nahmen (1914).
1819.
1948).
Suggestions
classification
tunes
and
('Journal of the
for the methodical
investigation of folk
Intern. Folk
1800. TREFZGER, HEINZ, Das Musikleben der Music Council' p. 34), 1949-

-
I,

T'ang-Zeit ('Sinica' XIII), 1938. 18190. Finnisch-ugrische Musik ('Die

1801. Ueber das K'in, seine Geschichte, Musik in Geschichte und Gegenwart*
seine Technik, seine Notation und seine IV, col. 229 ff.), 1954.
Philosophie ('Schweiz. Musikzeitung* 1820. VAIXE, FLAUSINO ROBRIGTJES, Ete-

1802 -
LXXXVIII, p. 81 ff.), 1948.
Ueber die chinesischen Noten-
schriften ('Universitas' VI, p. 753 ff.),
1821.
mentos de
(Sao Paulo, 1936).
VARAGNAC,
folklore

A., De
musical

la
brasU&iro

musique dans
de l'homme ('Polyphonic* 1950,
I'activite
1951-
1803. TREND, J. B., Spanish Folk Music No. 7-8, p. 31 &)
('Grove's Dictionary* 5th ed. vol. Ill, *i822. VARLEY, D. H., African Negro Music,
p. 368 ff.), 1954.
an annotated Bibliography (i93 6)-
1823. VARNOUX, JEAN, Vietnamese
Music
1804. TROYER, CARLOS, Indian music lecture:
 Tribal Uganda
(from 'France-Asie* No. 52, July 1950) 1842. Crafts of (in
collab. with MARGARET TROWELL),
('The Journal of the Music Academy,
Madras' XXI, p. 136 ff.), 1950- Part II. The Sound Instruments (p. 309
1824. VASILJEVIC, MIODRAG A., Les bases fl)> 1953-
tonales de la musique populaire serbe 1843. Musicology in Uganda ('Journal
Music of the R. Inst. of Great
('Journal of the Intern. Folk Anthrop.
Council' IV, p. 19 ff.}, 1952. Britain and Ireland' LXXXIII, p 50
1825, Yugoslavenska Musi6ki Folkloral. ff.), 1953-
Serbia (Beograd, 1952) . 1844. WADDELL,L. A., The 'Lepchas' or
Z&26. Yugoslavenska Musitki Folklora
and their Songs ('Intern. Archiv
'Rongs'
II. Macedonia (Beograd, 1953)- 1 Ethnogr/ XII, p. 41 fl), 1899.
1827. Narodne Mslodieje. Sandshak 1845. WAGENER, G,, Bemerkungen uber die
Theorie der chinesischen Musik und
(Beograd, 1953)-
1828. VECHTEN, C. VAN, The Music of Spain ihren Zusammenhang mit der Philoso-
(London, 1920). phie ('Mitth. der Deutschen Ges. f.

1829. VEGA, CARLOS, La flauto d& Pan Natur- und Volkerkunde Ostasiens' II
andina (*Proc. 25th Congress of Ameri- p. 42 ff.), 1877.
canists, Buenos Aires 1932', p. 333 ff.}, 1846. WALIN, STIG, Die schwedische Hummel
Buenos
Aires, 1934. (Stockholm, 1952).
1830. Tovdeiiern mit Halbtdnen in der 1847. WALLASCHEK, RICHARD, Primitive Mu-
Musik der alien Peruaner ('Acta sic (London, 1893).
Musicologica" IX, p. 41 ff.), 1939. 1848. WALLE, JOH. VAN DE, Walsen, danza's
1830*2 Panorama, de la musica popular en tumba's der Antillen ('Oost & West'
argentina (Buenos Aires, 1944). XLVII No. 5, p. ii ff.), 29th May,
1830^. VERBEKEN, A., Le langage tambouring 1954*
des Congolais ('African Music Society 1849. WALLESER, SIXTUS, Die Tanzgesange
Newsletter' I, p. 28 ff.), 1953. der Eingebornen auf Jap ('Anthxopos*
1831. VERDEIL, R, PALIKAROVA, La musique X/XI, p. 655 ff.), igi5/i6.
byzantine chei Us Bulgares et les Russes 1850. WANG, BETTY, Folk Songs as a Means
du IXe au XI Ve sUde ('Monumenta of Social Control ('Sociology and Social
Musicae Byzantrnae* III), 1953. Research' XIX No. i, p. 64 ff.), Sept./
1832. VERNEY, FREDERICK WILLIAM, Notes Oct. 1934.
on Siamese Musical Instruments (Lon- 1851. Folk Songs as Regulators of
don. 1885). Politics (ibid. XX, p. 161 ft), 1935.
1833. VETTER, WALTER, Ethos ('Die Musik 1852. WANG, EN SHAO, Chinesische Kammer-
in Geschichte und Gegenwart* III, col. musik einst und jetzt ('Musica' IV, p. 131
1582 w.), 1954- ff.), 1950.
1834. VETTERL, KAREL, Folk songs of East 1853. WANG, KUANG CHI, Ueber die chinesi-
Czechoslovakia ('Journal of the Intern. che Musik (in; RICHARD WILHELM,
1
Folk Music Council I, p. 35 ff.), 1949. 'Chinesische Musik'), p. 48 ff. (Frank-
1835. Czech Folk Music ('Grove's Dic- furt a/M., 1927).
1

tionary 5th ed. vol. Ill, p. 216 ff.),
1954-
1836. VICHITR-VADAKARN, H. E. NAI V.,
The Evolution of Thai Music ('Publ. of
1
the Dept. of Fine Arts, Thailand ), 1942.
1837. VIROLLAUD, CH., and FERNAND PELA-
GATJD, La musique Assyro-Babylonienne
(in LAVIGNAC, Hist, de la Mus/ I, p.
35 ff.), 1910,
1838. Vois, P., La musique des vieux ('Etudes
Melanesiennes, NoumeV No. 2, p. 10
**-) 1939-
1839. WACHSMANK, K. P., An approach to
African Music ('Uganda Journal' "VT,
No.
3, p. 148 ff.), 1939.
!84o. The Transplantation of Folk
Music from one social environment to
another ('Journal of the Intern. Folk
Music Council* VI, p. 41 ff.), 1954.
1841. An Equal-stepped Tuning in a
Ganda Harp ('Nature' Jan. yth., 1950,
p. 40 ff.).
1854. Ueber die chinesische Notenschrif-
ten ('Sinica' III, p. fl), 1928. no
1855. Ueber die chinesische klassische
Oper (1550-1860), Geneva, 1934.
1856. MusikalischeBeziehungenzwischen
China und dem Westen im Laufe der
Jahrtausende. ('Studien zur Geschichte
und Kultur des nahen und fernen
Ostens* (Festschrift-PAUL KAHLE), ed.
by W. HEFFENING and W. KIRFEL),
Leiden, 1935.
1857. WANTZLOEBEN, S., Das Monochord als
Instrument und als System (Halle, 1911).
1858. WARMAN, J. W., The Hydraulic Organ
of the Ancients ('Proc. of the Musical
Association' 1903 '04).
1859. WARMELO, WILLEM VAN, OuAfrikaanse
No. 3, biz.
volkstuijsies ('Lantern' III,
250 w.), Jan./Maart 1954.
18590. Op zoek naar volksliederen in
Zuid-Afrika ('Mens en Melodie' IX,
p. 321 ff.), 1954.

114
*i86o. WATERMAN, RICHARD A., WILLIAM 1870. WEISSMANN, JOHN S., Hungarian folk
LlCHTENWANGER, VIRGINIA HlTCH- Music ('Grove's Dictionary' 5th ed. vol
COCK HERRMANN, HORACE I. POLE- III, p. 277 ff.), 1954.
MAN, and CECIL HOBBS, Bibliography 1871. WELLEK, ALBERT, Das Farbenhoren im
of Asiatic Musics
('Notes', maga- Lichte der vergleichenden Musikt&issen-
zine devoted to music and litera- schaft. Urgeschichte des Doppelemp-
ture with bibliographies, reviews of findens im Geistesleben der Orientalen
books, records and music', Second ('Z. 1 Musikw.' XI, p. 470 fl), 1929.
series, V, p. 21 fl (I. General); p. 178 1872. Begriff, Aufbau und Bedeutung
ff. (II. Southwest Asia), A. General, einer systematischen
Musikwissenschaft
B. Ancient Civilizations); p. 354 ff. ('Die Musikforschung' I, p. 157 ff.),
(C. Jews:
Ancient and Modern); p. 194*.
549 ff. (D. 2. Caucasians
Christians, 1873. WELLESZ, EGON, Byzantinische Musik
and Transcaucasians) VI, p. 122 ff. ,
(Breslau, Jedermann's Biicherei, 1927).
(D. Christians cont., 3. Armenians, 1874. Die Byzantinische und Orienta-
4. Georgians; 5. Syrians a.o.); p. 281. Kirchenmusik (in GUIDO ABLER,
lische
(E. Moslems: i. General, 2. Arabic- 'Handbuch der Musikgeschichte*, vol. I,
speaking peoples); p. 419 (3. Turkic- 2nd ed. p. 126 fl), 1929.
speaking peoples, 4, Iranians a.o.) ; p. 1875. Eastern Elements in Western Chant
570 ff. (III. India: A. General and Art (1947)-
Music, B. Primitive and Folk Music, 1875^. A History of Byzantine Music
C. Ceylonese Music); VII. p. 84 ff. and Hymnography (1948).
(IV. South-East Asia: A. General, 1876. WELLS, EVELYN KENDRICK, The Ballad
B. Burma, C. Siam, D. Indo-China, E. Tree (London, 1954).
Malaya and Malay Archipelago, F. 18760. WERNER, ERIC, The Music of Post-
Philippine Islands) p. 265 (V. Central
; Biblical Judaism ('The New Oxford
East Asia: A. General, B. Japan, C. History of Music', 3rd ed., vol. I), 1955.
Korea); p. 415 ff. (D. China); p. 613 3:877. and ISAIAH SONNE, The Philo-
(D. China cont.) VIII, p. 100 ff. (VI.
; sophy and Theory of Music in Judaeo-
Central Asia and Siberia: A. General, Arabic Literature ('Hebrew Union
B. Tibetans, C. Mongols, D. Turkic College Annual' XVI), 1941.
Peoples, E. Paleo-Siberians, Samo- 1878. WERNER, HEINZ, Die melodische Erfin-
yeds, Tungus, and Manchus), p. 322 dung im fruhen KindesaUer (Akad. d.
ff. (Addenda), New York, 1 947-^51 . Wiss. zu Wien, Phil.-hist. JOasse,
rgfci. -and Survey of Recordings Sitzungsber. CLXXXII no. 4), 1917.
of Asiatic Music in the United States, 1879. WERTHEIMER, MAX, Musik der Wedda
I950-'5i ('Notes' VIII, p. 683 ff.), ('Sammelb. der Intern. Musikgeschich-
Sept. 195*- XI, p. 300 ff .), 1909.
te'
1862. WEAD, CHARLES K., The Study of 1880. WEULE, K., Schadeltrommeln aus dem
Primitive Music ('Archiv f. Anthrop.' Otschigebiet ('EthnoL Notizblatt', I,
II), 1900. fasc. 3).

^63. Contribution to the history of i88oa. WHYTE, HARCOTTRT, Types of Ibo

musical scales ('Report of the Smith- Music ('Nigerian Field* XVIII, p. 182
sonian Inst. for 1900', p. 417 fl), fl), 1953-
Washington, 1902. 1 88 1. WIEHMAYER, TH,, Musikolische Rhyth-
1864. Early Musical Scales %n the Light mik und Metrik (Magdeburg, 1917).
of the Twentieth Century (Tapers of 1882. WIESCHHOF, HANS, Die afrikanischen
the Michigan Acad. of Science, Arts Trommeln und ihre ausserafrikanischen
and Letters' IV, p. 43 fi), 1924. Beziehungen (Stuttgart, 1933)-
18640. WEBER, MAX, Die rationalen und 1883. WILHELM, RICHARD, Das Wesen der
soziologischen Grundlagen der Musih Musik ('Sinica' II, p. 203
chinesischen
(Munchen, 1921). 1927-
.),
Chinesische Musik (Frankfurt a/M.,
1865. WEGELIN, C. A., Chineesche muziek 3:884.
('China' IV, p. 129 fl and 217 fl), 1929-
China-Institut, 1927)-
I866.WEGNER, MAX, Das Musikleben der 1885. WILLARD, N. A., A Treatise on the
Griechen (Berlin, 1949)* Music of Hindoostan (in SURINDRO
1867. Die Musikinstrumente des alten MOHUN TAGORE, 'Hindu Music from
Orients (Munster, 1950). various authors'), Calcutta, 1882.
1868. Etrurien ('Die Musik in Geschichte 1886. WILSON, E. W., Gourd in folk music
und Gegenwart' III, col. 1595 vv.), 1954- ('Southern Folklore Quarterly' XV,
1869. WEISS, JOSEF, Die musikalischen In- p. 188 fl), 1951.
strumente des alten Testaments (Graz, 1887. WINNINGTON-INGRAM, R. P., Mode in
Greek music (Cambridge, 1936) -

1895).
 !888. - Greek Music (ancient)
Dictionary* 5th. ed. vol. Ill, p. 770
('Grove's
ff.),
Folk Music ('Grove's Dictionary* 5th
ed. vol. Ill, p. 288 ff.), 1954.

1954- 1907. WOLF, SIEGFRIED, Zum Problem der

1889. WINTERNITZ, EMANUEL, Bagpipes and Nasenflote (Leipzig, 1941).
Hurdy-gurdies in their social setting 1908. WOOD, ALEXANDER, The Physics of
('Bull. of the Metropolitan Mns. of
1
Art , Music (London, 1947).
N.S. vol. II, No. i, p. 56 ft), 1943- 1909. WORMS, E. A., S. A. C., Australian
1890. WIORA, WALTER, Die Aufzeichnung GhostDrums, Trumpets and Poles
und Herausgabe von Volksliedweisen ('Anthropos' XLVIII, p. 278 ff.), 1953.
('Jahrb. i Volksliedforschung' VI), 1910. WUNSCH, WALTER, Die Geigentechnik

.
-
1938-
Das Alter der deutschen
liedweisen ('Deutsche Musikkultur' VI),
Volks-
1911.
der

-
sudslamischen
Leipzig, 1934)-
Heldensanger
Guslaren

in
(Briinn/

Sudosteuropa

.
-
1939-
Systematik der musikalischen Er-
sckeinungen des Umsingens
('Arb. aus dem Inst. f Lautforschung,.
Univ. of Berlin* IV), Berlin 1937.
YAMANOUCHI, SEIHIN, The Music of
.

1893.
-
1940.
Die Volksliedweise und der Osten
(ibid. VII), 1912.

1913.
-
theRyukyus (Okinawa), Tokyo, 1950.
The History of Music of the Ryukyu

1894.
-
(1941).
Zwr Fruhgeschichte der Musik in
('Journal of the Soc. f. Research in
Asiatic Music' X-XI, p. 3 fl), Dec. 1952.

1895.
-
dm AlpenMndern (Basel, 1949).
Alpenmusik (in 'Die Musik in
Geschichte und Gegenwart', vol.
1914. YASSER, JOSEPH, Rhythmical Structure
of Chinese Tunes ('Musical Courier'
LXXXVIII, No. 14, p. 44 ff.), April

1896.
-
359 ff.), 1949.
Alpenlandische Liedweisen
Fruhz&U und des MiUelaUers im Lichte
I, col.

der 1915.
-
1924.
Musical Moments in the Shama-
nistic Rites of the Siberian
Pagan
Tribes ('Pro Musica Qarterly' IV, No.
vergleichmder Forschung ('Festschrift-

-
JOHN MEIER'), 1949.
Das echte Volkslied (Heidelberg, 1916. -
3/4, p.
A
4 ff.), March/June 1926.
Theory of Evolving Tonality

-
3:897.
1950)- (New York, Amer. Libr. of Musicol.,
1898. Die Stellung der Volkskunde im 1932).
Kreise der Geisteswissenschaften (*Be- Bibliography of Articles and
richt fiber den deutschen Volkskun- Books on Jewish Music (New York,

1899. -
detag'), 1952.
Europdischer
7.

Volksgesang.
meinsame Formen in charakteristischen
Ge-
Nat. Jewish Council, 1947).
1918. YEKTA, RAOUF, La musique turque (in
LAVIGNAC, 'Hist, de la Mus/ vol. V, p.
Abwandlungen (Heemstede/Cologne, 2845 fl), 1922.
1952)-
4
1919. YOUNG, R. W., A table relating Fre-
1900. Die Melodien der Souterliedekens* quency Cents (publ. by C. G. Conn,
to
und ihre deutsche Parattelen ('Trans- Elkhart, Indiana U.S.A., 1939).
actions Intern. Mus. Congress Utrecht 19190. YOSHIDA, TSUENZS, An Introduction
1952' p. 438 ff.), 1953. to the Shomyo of the Tendai School.
1901. Die rheinisch-^bergischen Melodien ('Journal of the Soc. for Research in
bei Zuccalmaglio und Brahms (Godes- Asiatic Music', No. 12-13,

1902. -fcerg, 1953).

sik
Grundschichten der deutschen
(Fruhgeschichte und Volksmusik)
Mu- 1920. YURCHENCO, HENRIETTA, Indian music
of
English
Section, p. 3 ff.), Tokyo, Sept. 1954.

Mexiko and Guatemala ('Bull, of the

('Deutschland in der Musikgeschichte'), American Musicol. Soc/ XI-XIII, p.

1903. -Kassel, 1953.

German
Folk Music ('Grove's
Dictionary* 5th ed. vol. Ill, p. 259 ff.),
58 fl), 1948.
1921. I JZERDRAAT, BERNARD, and SUHENDRO
SOSROSUWARNO, Bentara senisuara In-
1954- donesia (Djakarta/Groningen, 1954).
1904. WIRZ, PAUL, A description of Musical 1922. ZAW, U KHIN, Burmese Music; a
Instruments from Central North Eastern
Preliminary Inquiry ('Journal of the

1904*1.
New Guinea (Publ. No.
-
100 of the Royal
Tropical Institute), Amsterdam, 1952.
Ueber sakrale FUten und Pfeifen
1923. -
Burma Research Soc/ 1940, p. 387 ff.)
Burmese nursery songs (Rangoon,
.

des Sepik-Gebietts Das Schwirrholz

(Neu-Guinea) ('Verh.
f
1924. ZERRIES, OTTO, (Stutt-
Naturt Ges.Basel LXV,p. 97 ff.), 1954. gart, 1942).
1905. WITTE, FATHER FR., Lieder und Ge- ZGANEC, VINKO, Kroatische Volkswei-

1906.
sange der Ewe-Neger ('Anthropos I),
1906.
WODEHOUSE, Mrs. EDMUND,
1

Icelandic
1925.

1926. -
sen und Volkstanze (Zagreb, 1944).
Hrvatske Narodne
kavske (Zagreb, 1950).
Pjesme Kaj-

116
1927
- and NADA SREMEC, Hrvatske den Schallaufnahmen des Institutes fur
Narodne Pjesme i Plesovi (Zagreb, Lautforschung an der Universitat Berlin
(Berlin, 1939).
1928.
Narodne Popijevke Hrvatskog Za- 1930. ZWINGE, HERMANN, Lieder der Qunan-
gorja I. Music (1950), H- Texts (1952). tuna-Jugend auf Neubritannien ('Anth-
1929. ZIEHM,
ELS A (in collab. with F. BOSE), ropos' XLVI, p. 399 if-)>
Rumdnische Volksmusik, dargestellt an

APPENDIX
1931. ABEL, M.S.C., P., Knabenspiele auf des Am&icanistes" XXXVII, p. 259
Neu-Mecklenburg (Sudsee) ('Anthropos' ff.), 1948.
I, p. 818 ff.) 1906.
f
1945. FURER-HAIMENDORF, CHRISTOPH VON,
1932. ALLENDE, UMBERTO, La musique popu- Folk music of India: primitive instru-
(' Art populaire' II, p. 118
laire chilienne ments of primitive peoples ('The Illus-
ft), Paris, 1931. trated London News' 19 April 1952, p.
1933. ALVARENGA, ONEYDA, A influencia ne- 668 ff.).
gra na musica brasileira ('Boletin Latino- 1945 a. GALPIN, FRANCIS W., Jew's harp
Americano de Musica' VI, p. 357 ft), ('Grove's Dictionary* 5th ed. vol. IV, p.
Rio de Janeiro, 1946. 636 ff.), 1954-
1934. BAKE, ARNOLD A., Over de muziek van 1945 &. GURVIN, OLAV, Photography as an aid
Tagore ('Muziek en Religie' 1929, p. 9 in folk-music research ('Norveg* III),
fl), 1930- 1955-
1935. BARATTA, MARIA DE, Ensayo sobre 1946. HERSKOVITS, MELVILLE
J., Tambores y
musica indigena de el Salvador ('Re- tamborileiros no culto afro-b&siteiro
vista de estudios musicales' I, no. 3, ('Boletin Latino-Americano de Musica'
p. 6 1 ff.), Mendoza, Argentina, 1950. VI, p. 99 ff.), Rio de Janeiro, 1946.
1936. BAYARD, SAMUEL P., Aspects of melodic 1947. HUSMANN, HEINRICH, Zu Kurt Rein-
kinship and variation in British- hards 'Tonmessungen an funf ost-
American folk-tunes ('Papers Intern. afrikanischen Klimpem' ('Die Musak-
Congress Musicology, New York
of forschung* V, p. 218 ff.), 1952.
*939' P- 122 ff.), New York, 1944. 1948. Nochmals die Mwera-Sansen (ibid.
1937. Bouws, JAN, Afrikaanse volksmuziek VI, p. 49 ff.), 1953-
('Die Tijdskrif vir Wetenskap en Kuns' 1949. JACOBSON, E., and J. H. VAN HASSELT,
April 1951, p. 123 ff.). De gongfabrikatie te Semarang (Leiden,
*i938. BREDICIANU, TIBERIUS, Historique et 1907).
e'tat actuel des recherches sur la musique 1950. KANAI, KIKOKU, The folk music of the
populaire roumaine ('Art populaire' II, Ryukyus ('Journal of the Intern. Folk
p. 133 ff.), Paris, 1931. Music Council* VII, p. 17 ff.), 1955.
1939. CAMPOS, RUBEN M., La musica popular 1951. LACHMANN, ROBERT, and MAHMUD
de Mexico ('Revista de estudios musi- EL-HEFNY, Ja'qub Ishdq al-KintK
cales' I, p. 81 ff.), Mendoza, Argentina, Risdla ft.
al-alhan (Ueber die
hubr ta' lif

1949. Komposition der Melodien), Leipzig,

1940. DANCKERT, WERNER, Die dltesten 1931-
Spuren germanischer Volksmusik ('Z. 1952. LACHMANN, ROBERT, Musikwtssen-
f.Volkskunde' XLVIII,p. 137 ff.), 1939- schaftlicheForschungen in Tunesien
1941. DITTMER, KUNZ, Zur Entstehung der ('Forschungen und Fortschritte' VI),
Kernspaltfldte (
Z. 1 Ethnologic' LXXV, 1930.
p. Braunschweig, 1950.
83 ff.), 1953. MACHIDA, K^SHO, The musical meamng f
and *utau
1942. DURAN, SIXTO M., La musique abo- of 'kataru* (narration)
in
Japanese vocal music
rigine et populaire de I'Equateur ('Art (singing)
populaire' II, p. 117 ff.), Paris, 1931. accompanied by the shamisen ('Journal
1943. EMSHEIMER, ERNST, Schallaufnahmen of the Soc. for Research in Asiatic
music* No. lo-n, p. i ff.), Tokyo, Dec.
georgischev Mehrstimmigkeit ('Kongress-
bericht Deutsche Ges. L Musikfor- 1952.
schung, Liineburg 1950', p. 172 ff.), 1954. MARCHAL, - H
Orchestre cambodgien
('Sud-Est', Saigon,
Dec. I95P- 2 7^-)-
Kassel/Basel, 1951.
1944. ESTREICHER, ZYGMUNT, La polyphonie 1955. MCPHEE, COLIN, Eight to the bar
chez les Esquimaux ('Journal de la Soc. ('Modern Music' XX, p. 235 ff.), 1943*

117
 1
Plelade, Histoire de la musique
I 955* MOECK, HERMANN ALEXANDER, Die , Paris,
skandinaoischen Kernspaltfloten in Vor- 1955)-
zeit und Tradition d&r Folklore ('Svensk 1965a. SCHOEN, MAX, The effects of Music
Tidskrift for Musikforskning' I954 P- (London, 1927).
56 ff.). 1966. SCOTT, NORA E., The Lute of the singer
MORENO, SEGUNDO Luis, Musica y Har-Mdse ('Bull, of the Metropolitan
19556.
Danzas auioctonas del Ecuador (Indige- Museum of Art, New York', Jan. 1944).
nous music and dances of Ecuador) 1967. STOLL, DENNIS GRAY, The elements of
Indian music ('The Asiatic Review*
(Quito, Ecuador, 1949).
19555. OLDEBERG, ANDREAS, Vallhom, herde-1
XLI, No. 146), April, 1945.
pipor och lurar ('Vannland forr och nu 1968. THUREN, HJALMAR, Tanz, Dichtung
XLVIII), 1950. und Gesang auf den Faroern ('Sammelb.
1956. PARTHASARATHI, S., A study of
Sri der Intern. Musikges.' Ill, p. 222 ff.),
Tyagaraja ('Journal of the Music Aca- 1902.
demy, Madras' XXIV, p. 90 ff.), 1953- 1969. VALLE, NICOLA, Origine e tradizione dei
T. V. SUBBA, Modernity canti caratteristici delta Sardegna ('Ri-
1957. RAO* of
creazione* July /Aug. 1949, p. 83 ff.).
Tyagaraja (ibid. XXII, p. 138 ff.), 1951.
I95 g Desadi and Madhyadi Tolas (ibid. 1970. WATERMAN, RIICHARD ALAN, African
XXIII, p. 92 If.), 1952. influence on the music of the Americas
1959- Giripai of Tyagaraja (ibid. XXIV, ('Selected Papers of the XXIXth
Intern. Congress of Americanists',
p. 98 ff.), 1953- p.
1960. RAO, VISSA APPA, The Vizianagaram 207 Chicago, 1952.
ff.),
music manuscripts (ibid. XXIII, p. 1971. WILSON, E. W., Prehistoric musical
153 ff-). 1952. instruments ('Report of the U.S.
1961. Arohana and Avarohana kola National Museum, Washington', 1898,
svaras of g4 Camatic ragas taken from p.524 ff.).
Vizianagaram music manuscripts
the 1972. WIORA, WALTER, Die vergleichende
XXIV, p. 125 ff.), 1953-
(ibid. Fruhgeschichte der europaischen Musik
1962. RiEGLER-DiNU, EMIL, La Hora, la als methodische Forschung ('Kongress-
Maqnam et la chanson populaire de bericht d. Intern. Musikges., Basel
r Orient mrope'en ('Art populaire' II, p. 1949', p. 212 ff.), 1950.
140 if.}, Paris, 1931. I972a. WOLF, JOHANNES, Die Tonschriften
19620. SCHIPPER, ARY, Enkele opmerkingen (Breslau, 1924).
overSurinaamsemuziek ('West-Indische 1973. ZAGIBA, FRANZ, Funds zur vorgeschicht-
Gids' XXVII, p.209ff.), 1944-45- lichen Musik in Oesterreich. Knochen-
1963. SCHMIDT, LEOPOLD, Kulturgeschicht- flotenfunde aus der Hallstattzeit, Pan-
liche Gedawken zur Musik im Mdrchen fldtenabbildung aus der Latenezeit ( An-
r

3), Vienna, 1950.

f Musikerziehung* III, zeiger der phil.-hist. Klasse der Oester-
1964. SCHNEIDER, MARTDS, Bemerkungen reichischen Akad. d. Wiss.' 1954, No. 16,
uber sudamerikanische Panpfeiten (*Ar- p.208ff.).
chlv f . Musikforschung*, 1937. 1974. ZODER, RAIMUND, Austrian Folk Music
1965. LapMlosophie de la musique chezles ('Grove's Dictionary' 5th ed. vol. Ill,
peuptes non-europe'ens ('Editions de la p. 187 ff.), 1954.
In addition to the records, mentioned on p. 30 ff., there have been issued
a) by the Folkways Record & Service Corporation at the end of 1954 rnany others, among
which:
P. 502. African and Afro-American drums (tribes: Watutsi, Baya, Yoruba; other
regions: Madagascar, Haiti, Virgin Islands, Puerto Rico, Jamaica, Cuba,
Bahamas, Surinam, Brazil, Trinidad) (notes by HAROLD COURLANDER and
MEECZYSLAW KOLINSKI) ;
P. 503. Folk music of Greece (rec. by JAMES A. NOTOPOULOS) ;

FP. 1 2. Chinese classic instrumental music ;

FP. 17. Scottish bagpipe tunes, played by Pipe Major JOHN MAGELLAN;
FP. 805. Songs and dances of Yugoslavia (Bosnia, Hercegovina, Serbia, Macedonia,
Croatia, Montenegro, Slovenia) (instr. a.o.-: gusle, tapan, zurla, frula, kaval)
(rec. and notes by LAURA BOLTON) ;
FP. 806. Songs and dances of Armenia ;
FP. 811. Haitian folk songs;
FP. 814. Songs and dances of Greece;
FP. 820. Russian folksongs;
FP. 830. Songs and dances of the Basques (instr. a.o. txistu and tun-tun) ;
:

b) by 'His Master's Voice', among many others, some fine recordings from India, of which I
mention:

118
 jf. 5961. (instr. : tabla, tampura, sarangi, and ( ?) kattyavana vina (xylophone) ; performer:
MANOHAR BARV) ;

U. 6982. (instr. vichitra vina, tablet,; performer: ABDUL Aziz KHAN) ;

:

K. 14564- (instr. shahnai, duggi; performer: BISMILLAH) ;

:

N. 16764. (instr. say ode, tabla; performer: ALI AKBAR KHAN)

: ;

N. 16781. (instr. sarode, tabla; performer: id.) ;

:

K. 18219. (Tamil; instr. violin, mrdangga; singer: SM. N. C. VASANTHAKOKILAM)

:
;

N. 20027. (instr. sitar; performer: Pandit RAVI SHANKAR)

: ;

HQ. 2. (instr. :
sarangi, tabla; singer: BAI KESARBAI KERKAR) ;

HT. 83. (instr.: sarangi, tabla; performer: BUNDU KHAN);

Collection of Recorded Folk Music (editor: Prof. CONSTANTIN BRAILOIU) in
c
\
by the World
collaboration with Unesco :

three more albums with music resp. from:

(III) Tuareg, Ireland, Turkey (Anatolia), Sardinia, Hindostan (Benares) (instr. a.o.: bagpipe,
kaval, saz, launeddas) ;

(IV)
Fulah (Peuls), Rumania, Flanders, Esthonia, Bosnia (instr. a.o.: flute (zazakuaf),
musical bow, carillon, jaw's harp, bagpipe, bowed bow, gusle, dvojnice, tamburiza);
(V) Formosa (Bunun, Tsarisen,Sazek), England (Somerset, Oxfordshire, Northumberland,
Norfolk, Wales), Bulgaria, Ukraine, Russia (distr. Pskoff) (instr. a.o. beakflute (flute a
bee), bagpipe, gadulka).

119
 Atfew^t ^ucr^

Fig. i. A. J. ELLIS (1814-1890) :

-"IS

Fig. 2. CARL STUMPF (1848-1936) Fig. 3. CURT SACHS (b. 1881)

1
Since the identity of the above portrait was uncertain, an appeal has been made to
one of ELLIS'S younger contemporaries, namely BERNARD SHAW. I believe I may rightly
reproduce his testimony in facsimile.
121
 Fig. 4. TOBIAS NORLIND (1879-1948)

Kg. 5. JOHANN SEBASTIAN BRANDTS BUYS Fig. 6. A.H. Fox STRANGWAYS (1859-1948)
(1879-1939) (Courtesy Mr. Jerome Dessain)

122
 Fig. 7. HENRY BALFOUR (1863-1939) Fig. 8. BELA BARTOK (1881-1945)
(Courtesy Messrs.
LAFAYETTE Ltd., London)

Fig. 10. FRANCES DENSMORE

Fig. 9. ZOLTAN KODALY (b. 1882)

123
ll^ r lfeff* K ;

;* , '* *>"<; ,
*"'
i7 .L
'

1L , 'SLa

Fig. 12. CONST ANTIN BRAILOIU ib.

Fi?. IT. ERICH M. vox HORXBOSTEL (1877-
1893! with LEON ALGAZI. At the
with JACQUES HANDSCHIX (b. iSS6j
fl).
I935. 1

I
1
-)
from left to ris^ht:
background,
ZYGMUXT ESTREICHER, CLAUDIE
MARCEL-DUBOIS and SAMUEL BAUD-
BOVY

ANDR* SCHAEFFNER (b. 1895;

Fig. 13. JAAP KUNST (b. 1891) Fig. 14.

124
 Fig. 15. A. O. YAISANEN (b. 1890)

Fig. 16. ROBERT LACH (b. 1874}

Fig, 18. MARIUS BARBEAV ^b.

Fig. 17. ERICH M. VON HORNBOSTEL (1877-1935)

125
 ROBERT LACHMANN Fig. 2O - P=KCIVAL R. KIRBY (b. 18
Fig. 19. (JS92-I939)

Fig. 21. MlECZYSLAW KOLINSKI (b, I9Ol) Fig. 22. ARNOLD A. BAKE (b. 1899)

126
Fig. 23. HUGH T. TRACEY (b. 1903) Fig. 24. MARITJS SCHNEIDER (b. 1903)

Fig. 26. EDITH GERSON-KIWI

Fig. 25. ERNST EMSHEIMER (b. 1904)

127
 Fig. 28. WALTER WIORA (b. 1906)

Fig. 27. HELEN H. ROBERTS

Fig. 29, HANS HICKMANN (b. 1908)

Fig, 30. CLAUDIE MARCEL-DUBOIS Fig. 31. MANFRED F. BUKOFZER (b. 1910)

128
Fig. 32. Buttock-'music' on a ancient Greek vase

Fig. 33. Ancient Egyptian orchestra

Fig. 34. North Indian bin (after HIPKINS)

129

Fig. 35. Bamboo zithers from Flores
(A = full-tube, B and C = half-tube
instruments)
Fig. 37. Prehistoric lu(n)komba; Dra-
kensberg (Basutoland) rock-painting
(after STOW). (Courtesy Mr.P.R.KiRBY
and the Trustees of the South African
Museum)

Fig. 36. Raft-zither from Hindostan

(after SOLVIJNS)

Fig. 38. Modern lu(n}komba

Fig. 39. Musical bow from South Africa*

(after PERCIVAL R. KIRBY)

130
 Fig. 41. ,, Kemanak" of the
Pangwe, West Central Africa
(after VON HORNBOSTEL)

Fig. 40. Javanese kemanak

Fig. 42. Fdku of the Atoni,
Central Timor

Fig. 43. Dunda from Sokoto,

North Nigeria

'"*?; -^,mm
.
-'
,N$$$$
Fig. 44. Pan-pipe Fig. 45. Unconnected pan-pipes (&>)
(Central Timor) (West-Flores)

131
 Fig. 46. Monochord with scale division

Fig. 47.Dodecachord provided with 12 graduated scales, moveable bridges and

tuningpegs, which can duplicate any kind of scale of known vibration numbers

132
 ,j^Tftt,)-*l
*Aimbm
{
.tim>

14S1 1483 1485 1487 1490

Fig. 48. The cents-table of VON HORNBOSTEL

133
134
 PRECENIOR AND JJKTSQHQ CHORUS

etc.

Fig. 50. Transcription after a phonogram of a Florinese melody (lagu Soda)

"2>
ieei
=
15691

r
MP
CCPr
= -
-Z.1A-- =
^^'"JUL-

298i I

Fig. 51.The sound-recording and -repro-

ducing installation at the Department of
ethno-musicology of the "Muse'e national des
Arts et Traditions populaires en France", B
Paris (Director: CLAUDIE MARCEL-DUB ois) A C D
Fig. 52. The Music Rule of
Prof. M. REINER

135
 INDEX OF SUBJECTS *)

absolute pitch 37 bugaku (695)

acoustics (17, 112, 1451) bull-roarer (163, 176, 236, 354, 1626,
1924)
Aeolian harp 56 buttock-music (fig. 32), 51
aerophones 52, 58 calabash-horn 35
aksak (rhythm) (198) Canada, phonogram collection in, 24
alap(a) (1336) canun (502)
algoza 31 carillon ixg
Archives of recorded music, collection of the castanets (791), 35, 51
Phonotheque National, Paris (52) ; id. of cembalo 56
the Muse"e de THomme (1490) ; id. of the cents system (fig. 48) (861, 924, 1919), 12 ff.
Library of Congress (468), id. of Berlin chak6 53
(1450) chalintu 52
assimilation (cultural) 61 chantang balling (214)
audition colore" (1871) charb yai (i68oa)
aulos (904, 916, 1625) cheironomy (fig. 33) (768 III, 806), 50
autophones 57, 58 chelempung 56
avanaddha 55 cheng (673)
bagpipe (48, 230, 32oa, 570, 660, 1324, chepkong 35
I4o8a, 1688, 1689, 1889), 3Z, 33, 53, 118, children's songs (130, 149, 166, 223, 876,
ng 1807, 1878, 1923), 33, 47
balafon (see marimba) ching (i68oa)
balalaika 32 chizanshi 35
bamboo trumpet (91, 354) chordophones (1372, 1373, i527a, 1599), 58
bamboo zither (figs, 35 and 36), 55 chrotta 50
banjo (1671) C.I.A. (T.) P. 28 39
,

bass-horn 57 clapper (773), 50

bata 32 clarinet (15, 789), 52
baya 31 clarsech (587)
beakflute j Jp classification systems (433, 851, 1322, 1372
beatingsticks 50 1374. 1513, i598 1599, 1602), 64
begenna 30 Clephts, songs of the, (133, 134)
Berlin, phonogram collection of (1450), 24, 25
, conches, (blowing-), (276, 354, 947)
bibliography of Asiatic musics (1860) consonance (1741, 1742, 1747)
bin (fig. 34), 54 copyright on folk songs (mo)
bird voices (843, 1141, 1148, 1783), 46 crocodile zither 53
biwa (1242), 36 crotales (774)
blowing gong (354)
blown fifths, cycle of, (239, 240, 242, 856, cushira 55
873, 1094, 1228), 26 cycles per second (c.p.s.) XT
bonang (1099 I, p. 153 ff.) cymbals (774, 810)
bowed bow xjp danza (1848)
brass (bronze) drums (255, 637, 701, 705, darabukah (802)
706, 1085, 1500) dholak 3 j
Budapest, phonogram collection of, 28 diaphony (1719)

Figures between brackets refer to the Bibliography (p. 65). As a rule a literature reference
*
is only given when the keyword behind which it appears is mentioned in the title of the work
concerned.

137
didjeridu 32
gudugudu 32
disc-libraries (416), 23 ff., 27 &- guitar 35, 59
do butt 32
dodecachord $3 guslar (1910, 1911)
(fig. 47),
drone (266) gusle n8 ng
t

drum 628, 770, gusli (1809)

(96, 162, 473-475* 604-608,
Hardanger fiddle (1385), 33
897, 945, 1040, 1246, 1253, I394
802,
harp (8, 33, 232, 436, 587, 588, 730, 767 I,
1420, 1882, 1909), 30-55* 49> 53
drum languages (136, 262, 439, 7<>7> 73*> 767 II, 768 V, 783 VII, 804, 806, 809, 1521,
1541, 1814, 1841), 30, 33, 35
1132, 1656}
duda 32 harp-lute (662)
harp-zither 34
duggi 119 ha-uta (321)
dunda (fig. 43), 45
dundun 32 heptatonic scales (1770)* 43
herdepipa (iQ55 c)
dvojnice ng hertz (H.) JJ
i {442) heterochord 53
ekola (1004)
heterophony (7), 44
electrophones 60
hoi (fig. 45), 52
hora (1962)
enkoito 35
hornpipe (88)
ennanga 35 hula (466)
entenga 55
hummel (968, 1846)
equidistancy (1227, 17683, 1770, 1841)
eschaquiel (502, 5 8B)
hurdy-gurdy (592b, 1889), 31
esraj (33)
Hungary, phonogram collection in, 28
ethos (3, 880, 1833) hydraulic organ (509, 584, 5920, 1243, 1662,
feku (fig. 42), 45 1771, 1858)
fidel (8i2a, i682a)
idiochords 53
flamenco (1661) idiophones 58
flute a bee ng igbin 32
instrumental music, origin of, 4$ ^f
flutes (40, 147, 208, 230, 235, 429, 562, 566,
650, 768 IV, 789, 805, 8i2b, 839, 849,
ion, interlocking thirds 44
1012, 1014, 1035, 1053, 1079, 1221, 1234, interruption aerophones 52
1314, 1351, 1409, 1510, 1567. 1907, !9<>7
a interval measurement n ff.

Icila dance (964)

1941, 1955^), 3i* 35> 49> 5*> 57
form (737, io34b, 1482), 63 israj 3 1
France, phonogram collections in, 27, 28 jalatarang 33
frets (52iE, 1084) jaw's (Jew's) harp (470, 760, 1012, 1013,
friction drum (96) 1225, 1517, 1904, I945&), 5<5* 1*9
jazz (874, 1304, 1454)
gadulka ng (see also Krica) jig (573)
gagaku (692, 695, 1242), 36 jyabisen 32
gambus (1375) kanango 32
34 kannel (55)
gamelan (1099 I, p. 243 ff.},
Gandhara grama (564) kantele (1367, i8o8a, 1810, 1813, 1816)
karatali 32
garajs karnyx (1512)
kartal 31
geige (573)
gender (1099 I, p. 172 ff.), 5J kathandi 35
ghagharjx kattyavana vina J18
kaval 118, ng
ghungharus 32 kayamba 35
gigue (573) kemanak (fig. 40), 44
glottophones 52 kenas (644)
gong (1095, 1099 I, p. 136 ff, f 1115, 1684, kenong (1099 I, p. 160 ff.), 51
1949) 5^ kerikeri 32
gong wong yai (i68oa) kibukandet 35
Iriin si daw 32
gong wong lek (i68oa)
gopi-jantra 31 k'in (671-674, 1801), 53
gora (goura, hura) (92, 986, 997) kirtan(78)
gourd (1886) Kitab al-iqd al-farid (526)
gramophone ig ff . Kitab al-malahi (520)
gramophone companies 28 ff. Mthara (670, 916, 1369, 1557)

-138
Hong thad (i68oa) music rule (fig. 52) (1447)
Idu'i 56 nada (80)
koto (942, 1242), 32, 33, 36,33 nagasvara (1423)
ko-uta (321) nanga 35
iowangan 59 Natya-9astra (224), 55
kponingbo 35 nay (5o8F)
fronchong (1256)
' >
negroid elements 44
,,Kulturkreise 61 neikembe 35
kundi 35 neums 50
langeleik (see also hummel) 33
langendrija 29 Noardske balke (see also Hummel) (968,
launeddas (492), ag 1846)
Leningrad, phonogram collection in, 28 Noh-music (1175, 1242, 1415), 36, 63
Library of Congress (468), 23, 36 nomos 63
ligombo 35 nose flute (40, 566, 1314, 1907)
lingua-phones 59 notation of folk music (1376), 39
lirica (603) (see gadulka) notched rattle (698)
lisanzo 35 nyamulera 35
lithophones (44, 308, 926, 1129, 1610, 1683) oboe (789), 52
Ktuus (1512) ocarina (689)
lu(n)komba (fig. 37 and 38) (1248), 54 octoechos (355, 954)
lure (229, I955C) omichicahuatzH (260)
lute (142, 5o8H, 52 iC, 52 iD, 52iF, 52iG, 609, ondes sonores 60
704, 767 II, 768 VI, 769, 798 XI, 1371, 1966) organ (so8C, 509, 584, 761, 1243, 1329,
lyre (414, 767 II, 1369, 1557, 1792), 35 1616, 1662), 53
magic (236, 238, 305, 373, 447^ 537, 969, origin of music 46 ff.

1118, 1124, 1206, 1409, 1482, p. 37, 1498,

1509, 1514, 1702, 1909, 1915)* ^3 Ottawa, phonogram collection in, 24
Maheswara Sutra (338) 023.32
maqam(at) (931, 938), 63 pakavaj 31
marimba (161, 622, 628, 921, 993, 1073, pandore (505, 53*G)
1245, 1346, 1349, 1713), 34, 35, 51, 56 pan-pipes (figs. 44 and 45) (139, 235, 354,
masonquo 30 562, 829, 839, 849, 1829, 1964, I973) 5*
maung saing 32 52
m'bila (see marimba) Paris, phonogram collections in, 27
m'bilta 30 part singing (see multi part music)
m'bira (see sanza) patet (817), 63
medicine and music (48, 373, 381, 388, 1120, pattala 32
1 121, 1241, 1664, 19650), 64 part waing 32
mela (kerta) (943, 1503, 1505) pellet bells (787)
membranophones 58 p61og-scale (fig. 49) (817, 1099 passim)
mganda dance (959) pendular thirds 44
mi gyaung 53 pentatonic scales (331, 620, 1125, 1205, 1294,
milli-octave (M.O.) 12 I744 1759), 43
mission and music (1092, 1508), 64 peyote music (1283, 1284)
mizmar (5o8F) philosophy and music (228, 907, H94 *54*
mong (i68oa) 1801, 1845, 1877, 1965, 19650), 64
monkeys and music 48 piano 56
monochord (fig. 46) (1857), 18, ig pibcorn (88)
mouth harp (see jaw's harp) pigeon flutes (819)
mrolangga 3 J, ng pi nai (i68oa)
multi part music (43, 165, 248, 803, 837, 901, pincollos (644)
966, 984, 985, 1101, 1176, I407a, 1466, p'i-p*a (1008, 1764)
1467, 1535, 1630, i63oa, 1631, 1636, 1652, piphat (i68oa)
1791), 43* 44* ^3 pitch (456, 460, i228a i228b), JJ, 42
musical bow (90, 354, 421, 972, 1125, 1210, pitch pipes 17, 18
1588), 34, 54, ug pluiigenesis 6I
musical rasp (435, 1078) pochette (574)
musical script (219, 275, 337 II, 59O, Chapter polychord 63
IV, 671, p. 4-5, 695, 857, 1021, 1062, polyphony (165, 803, 984)

1099, 1196, 1199, 1214, I24ia, 1507, 1510, portative (761)

prehistoric music (1385^ 1545, 1672, 194*
1529-1531, 1551, 1685, 1686, 1702, I78oa,
1802, 1854, 19650), 63 1941, I955&, *972 I974) 54

139
psychology and music (22, 266, 682, 686, shwe-bo 32
869, 870, 907, 1043, 1044, 1126, 1335, sistrum (776, 1687-1691)
1456, 1663, 1664, 1668, 1732, 1736, 1833), sitar 3 J, I ig
64 skeletal tones 42
Pythagorean comma jj sl&idro-scale
(fig. 49) (817, 1099 passim)

qanum (502) slitdrum (354, 647, 653, 1246, 1297, 1301,

raftzither 53 T378a, 1716)
slit stop flutes (420, i32oa, I94ia, i955a)
quarter tones (12, 16)
race and music (1300, I57a, 180, 181, 185, sociology and music (145, 157, 907, 1029,
725, 1007, 1149) 1106, 1150, 1850, 1851, i8&4a), 64
rag(a) (10, 101, 267, 337 II, 347, 560, P- *5* sruti (295, 335, 564* 1505)
ff., 593, 1425, 1428-1430, 1433, 1439, i44*> stamping drums (1223)
1442, 1501, 1503, 1568, 1717, 1961), 63 stamping tubes 50
Ramayaaa (417) steelband (1337)
ramshom (1030) Stockholm, phonogram collection in, 28
ranad ek (i68oa) strakharpan (32)
ranad lek (i68oa) stroboscope (1130), 18
ranad thume (i68oa) style in music (180, 326, 332, 725, 736, 882,
rattle (698), 35 894, 915, 1149, 1356, 1357, i36ia, i36ib,
rebab (218, 1099 I, p. 220 ff.) 1631, 1638, 1640), 63
rebec (soSH) surigane 32
recording (i67oa) Sweden, phonogram collections in, 28
recording instruments, types of, 20 ff. Swedish lute (1371)
religion and music (447a, 477, 575, 6690, symphonia (1324)
735, 747, 1033), ^4 synaesthesia (1871)
rhythm (27, 49, 198, 200, 2503,, 320, 375, syrinx (141)
388, 428, 605, 608, 613, 695, 905, 958, tabla 31, 118, ug
966, 1042, 1 101, 1338, 1339, 1355, 1366, tala (560, 1958)
*555* 1556, 1584, 1762, 1825, 1826, 1881, tambura (tampura) 3 j, 118
tamburine (786), 31
roga (48) tamburiza ug
rumba (623) tanbur (505)
Russia, phonogram collections in, 28 tapan 118
sackbut (585) tapon(e) (i68oa)
saezuri (442) tappu 3 1
Samaveda (491, 1426) tarkas (644)
samisen (see shamisen) tarantella (1647)
sanai (see shahai) tata 55
f
Sangita Damodara (339) ta us (66)
sanza (921, 1247, 1451, 1947, 1948), 34, 35, tcherawata 30
5^ teponatzli (263, 1301)
sarangi 3 it n8 t I19 thum 36
sarindajj thume lek (i68oa)
sarode ug tibia (904)
saron (1099 I, p. 164 ff.), 51 ,, tiled" melodies 44
sarnsophone 57 tone measurement (462, p. 486; 1130, 1311,
saung 32 1312, I945b), ^7 ff-
savart 12 tonometers .17, 18
saxophone 57 transcription of phonograms (1130, 1311
saz" ng 1312, i945b),37ff.
schwegel (1014) trautonium 60
scrapers {435, 1078) triione 44
serpent 57 trumpets (91, 137, 276, 676, 775, 1003, 1363,
sex and music (532), 5J, 1106, p. u ff.
1409, 1611, 1675, 1909), 34, 35, 53
shamisen (1242, 1280, 1953), 32, 36 trumpet marine (574a, 589, I366a)
sfrahnai jx, 33, ug tomba (1848)
shark sistrum (549)
timing forks J7, 18
shawm (230) tun-tun 118
shekere 32
tupan (49)
shell trumpets {354, 947) tristu j18
shipalapala (1002) ukelele (1479)
Unesco 28, 36, ng
shofar (1030) 28
Uppsala, phonogram collection in,

140
U.S.A.* phonogram collections in the, 23, 24 wiri-wiri (635, 636)

(1483)
ut'e xylophones (161, 622, 628, 921, 993, 1073,
vaUhorn (1955^) 1245, 1346, 1349, I4> i4 ia > I 7I3) 35*
59
Vedic chant (491, 534, 818, 1426, 1435, 1442, yang 43, 50
1686) yang-ko (269)
vibrations doubles (v.d.) u yin 43, 50
vichitra vina J 18 yodeling (199, 865, 1211, 1681)
Vienna, phonogram collection in, 24 zambtinibia (298)
violin 59 zazakuat 119
vina (311-313* ** 8 5)> 54
vocal music, origin of, 46 ff . zither (671-674, 942, 1372)
whit-horn (89) zurle (1687), 118

141
 II

INDEX OF PEOPLES AND REGIONS THE MUSIC

OF WHICH HAS BEEN STUDIED OR RECORDED

Abakwajj Antilles (see West Indian Archipelago)

Abcliases (1157, Apache 31, 36
Abyssinia (see Ethiopia) Appalachians (1678)
Afghanistan (344, 345, 925) Arabia (Arab music) (61, 114, 144, 149, 150,
Africa (South of the Sahara) (figs. 37-39, 278-281, 284, 286-291, 333, 482, 494-413^
41, 43) (41, 42a, 60, 95, 97, 136, 161, 162, 498-515, 517, 5*9-52iE, 52iG, 524-526,
179, i92a, I92b, 193, 201, 244, 262, 271, 528-530, 53iA, 53iB, 53*e-53ig, 53 ik,
304a, 469, 556, 569, 576, 577a, 6o3a-6o8, 557, 576, 703, 704, 712, 728, 759, 765,
628, 662, 663a, 666, 669a, 674^, 696, 697, 792, 888, 911, 980, 1142, 1178, 1187,
708, 710, 731, 744, 758, 795, 8i6a, 835, 1189, 1195, 1196, H97 1199, 1259, 1267,
838, 877, 890, 891, 897, 900, 901, 919, 921, 1460, 1468, 1490, 1496-1499, 1540, 1546,
922, 956a, 958-966a, 9800, 983-1002, 1560, 1622, 1623, 1644, *66o 1763, 1951,
1004-1006, 1034, I034a, 1039, 1073, 1223, 1952), 31, 33, 35, 43*63
I23oa, i23ob, 12423, i244a, 1245-1248, Arapaho (399, 917, 1361, 13610)
i256a-c, 1307, 1308-1308^ 1397-1400, Ararajr
14013, 1405, 1420, 1451, 1597, 1600, 1603, Araucanians (59, 941, i83oa)
1605, 1607-1609, 1611, 1630, 1656, i666b, Argentina (53, 729, 941, i2ooa, 1637, i83oa)
1699, 1700, 1707, 1713, 1715, I7i8a, 1782, Armenia (355, 601, 796, 1036, 1037, I2 44*
i788-i795a, 1806, 1807, 1822, i83ob, 1353, 1410, 1755), 31, 118
1839-1842, 1859, 1859^, i88oa, 1882, 1933, Arnhemland (448), 32
1947, I948, W) 29, 3i, 32, 33, 34, 35, Arn Islands 34
36, 44, 5r, 54, 56, 5p, xiS, 122, 123 Asia minor (57, 148, 166-170, 436, 518,
523,
Afino-Americans (36, 261, 265, 293, 350, 468, 822, 953, 1237, 1396, 1411, 1590, 1591,
541, 550, 735, 735a, 1033, 1384, 1574- 1593, 1755, 1918)
*57& i597 1669), 3o f 31, 32, 33, n8 Assam (346, 566, 1355, 1518)
Afro-Bahia (36, 468, 541, 735, 735^ 1033,
Assyria (53iF, 590, 811, 1837, 1867)
1946) Asturiasjj
Airo-Cubanos (261, 265, 1384, 1574-1576) Atoni (fig. 42)
Amu (1387) /?Auni(999)
Akamba (469) Australia, aboriginals of, (91, 163, 194, 348,
Alabama 3j
448, 659, 678, 908, 1649, i726a, 1773, 1909),
Alabama Indians (400) 32,33.34*44
Alasca (955), 33 Austria (1013, 1973, 1974)
Albania (45, 48-50, 1354), 32, 33 Austronesia (see Oceania)
Algeria (1496, 1497), 32 Aymarajj
AH (156) Azande (see Zande)
Alp-peoples (238, 1894-1896) Azerbaijan (253a), 31, 33
Amami Islands (Northern Ryukyus) 32 Aztecs (27a, 257, 260, 582, 611, 612,
A mannas {440, 1394), 33 689,
1035, 1266, 1300, 1301, 1588)
Ambo (1715)
Ambon (956), 34 Babembe
Anatolia iig
(see Bembe)
Babira 35
Angami Naga's 44 Babunda (see Bunda)
Anjon 31 Babylonia (436, 590, 592a, 811, 1530, 1532,
Annam 227,416^ 1018, 1365, 1437)
(226,
1551, 1837, 1867), 43, 63
Andamans 5X
(1414), Baganda (see Ganda)
Angouleme 31 Bahamas (468, 920), 32, 118
33,

142
Bahutu (see Hutu) Brazil (24, 25, 64, 468, 541,
597, 729, 735,
Baiga (975) 735a, 839, 903, 1252, 1298, 1299, 1313,
Bali (1062, 1063, 1067, 1096, 1114, 1285--
I459a, 1491, 1595, 1657, 1698, 1726, 1820,
I295a, 1615, 1708-1710, 1955), 29, 30,
1933, 1946), 33, nS
33> 34' 43, 5i, 63 Bretagne (see Brittanny)
Balkans (45, 47-51, 113, 115, 117, 123, I2 ga, British Columbia (405, 828)
I33> 134, 138, 176, 177, 196, 198, 220, British East Africa (744)
221, 230, 231, 320, 422-428, 544, 545, 54 6,
Brittanny (1798), 31
603, 757> 94 8 > 949, 949a, 97oa, 9 7 2a, Bulgaria (220, 221, 428, 97ob, 972a, 1042,
1042, 1055, 1056, 1108, 1 1 12, 1261, 1315, 1366, 1377, 1492, 1705, 1719-1722, 1831),
1319, 1333, 1334, 1354, 1364, 1366, 1377, Jjp
1419, 1462, 1465, 1466, 1467, 1492, 1511, Bulu 33
1613, 1687-1691, 1705, 1719-1722, 1824- Bunun (1125), ng
1827,1910, 1911, 1925-1929), 32, 33, n8,iig Bushmen (92, 989, 992, 995, 996, 999, 1000,
Baltic States (46, 55, 56, 154, 222, 618, 648, 1006, 1007), 54
649. 97 973* 1202, 1203, 1204, 1231, Buudu 35
1325, 1392, 1393, 1443* 1813) Byzantium (497, 602, 1784, 1831, 1873, 1874,
Baluba (see Luba)
Bamba 35 Caddo 36
Bambala 33 California (421)
Bamende (see Mende) Cambodga (4i6a, 631, 633, 1190, 1191, 1437,
Banda 34 1729, 1954)* 3i
Bannock 36 Cameroon (663a, 708, 1600, 1605), 33
Bantu (see also Africa, south of the Sahara, Cam (360)
and South-Africa) (674a, 983, 984-988,' Canada (102-109, 406, 537), 24
990-998, 1001, 1005, 1039, i23oa, i23ob, Canaries (1019)
I794> 1795, 1795*) Cape Breton Island 33
Banyuwangi (207) Carelia (175)
Ba'oule 34 Caribbean Islands (see West Indian Archi-
Bapende (see Pende) pelago)
Bapere 35 Caribou Eskimo (484, 486), 34
Bashi (i3o8b) Caribs (n), 32
Bashkirs (1158) Carnatic (see South India)
Basques (347 a 43~432a, 599a, 1799), 118
> Carolines (738, 749)
Basuto (fig. 37) (1039, 1667), 54 Catalinefto Indians (1482)
Bata (1605) Catalonia 31
Batak (2, 727), 30 Caucasus (418, 1139, 1157, 1160, 1162, 1171,
Batwa (201), 35 1350, 1351* 1641), 28, 33
Baya 30, 33, 118 Celebes (875, 974)
Bedouins 31 Central America (u, 27a, 131, 257, 258, 260,
Belgium 119 261, 263, 264, 272, 358, 376, 377, 468,
Bellekula Indians (1733) 581, 582, 596, 611, 612, 687, 689, 690, 724,
Bembe (i4Oib, 1700) 1035, 1059, 1154, 1266, 1282, 1300, 1301,
Benares ng 1412, 1415, 1452, 1558, 1574, 1575, 1576,
Bengal (78, 928), 31 1588, 1589, 1649, 1673, 1674, 1694, *7 l8*
Benkulen (1070) 1786, 1920, 1935, 1939), 3%, **8
Berber tribes (282, 283, 285, 289, 2nd part, Central Asia (146, 147, 470, 471, 527, 568,
53ib, 894) (see also Fulah and Tuareg) 719, 842, 930, 950, 1010, 1049, 1177, 1379,
Berry 3 1 1380, 1382, 1573, 1621, 1735, i763a, 1787),
Bhil (969) 54,62
Birma (1016, 1260, 1448, 1518, 1922, 1923), Ceylon (58, 99, 349, 1676)
3i, 32, 53 Chaldea (302, 953, 1237), 43
Bismarck Archipelago (439, 714, 715, 830, Chavantes (i459a)
914, 915, 1930) Cneremiss (1157, 1161)
Bobwa 35 Cherokee 36
Bokhara (615), 31 Chewa (744)
Bolivia (139, 644) Cheyenne (399, 1305), 36
Bongili 30 Chhattisgarh (464)
Borneo (1079, 1344, 1680), 34 Chili (1932), 33
Bosnia (1055, 1261, 1319, *333> *334. 1465* China (i, 9, 26, 268, 269, 270, 314, 356, 444,
1466, 1511, 1613, 1827), 118, ug 540, 548, 578, 658, 671, 674, 819, 857, 909,
Botocudos (1726) I008~IOIO, 1021, 1024, 1029, IO57 1058,
Bougainville (853) 1127, 1128, 1144, II92-II94, I2I3-I2I5,

143
 1225, 1226, 1249, 1263, 1269, I3 2 > I 3 28 Ethiopia (316, 716, 732, 794, 1321), 30, 33
Etruscia (23, 1868)
1329, 1370, 1381, 1406, 14071*, 1461, 1489,
1546, 1549, i553> *65> * 68 3, 703, 1764*
I Equador (see Ecuador)
1769, 1800-1802, 1845, 1850-1856, 1865, Ewe (577a, 604-608, 1643, 1905)
Faeror (669, 713, 1968)
1883, 1884, 1914), 20, 29, 33, 43, 53 55>
118 Falasha 32
62, 63,
Chinook (158) Fang (Pangwe, Pahouins) (fig. 41) (60, 852)
CMppewa (364, 368, 370, 389, 1124!!), j6 Fiji Islands (359, 97^, 979)
CMtimacha Indians (412)
Finnland (36, 1045, 1047, 1048, 1051, 1202,
Chleuh (283, 285) 1203, 1453, i8o8a, 1813, 1817, i8i9a), 33
Choctaw (406), 36 Firm-Ugrians (1050, 1139, 1157, 1158, iSiga)
Flanders i ig
Chopi (1791)
Chu'an Miax) (9) Flathead Indians (1306, 1309), 32
Chuwassians (1158) Flores (figs. 35, 42, 45) (702, 1070, 1083,
Circassian Tatars (950) 1113), 22, 23, 40, 44, 52, 54
Coast Sallsh (745) Formosa (972, 1125), 34, ng
France (233, 347 a 4 2 o-43 2 a, 940, 1216,
Cocopa 36
Columbia (298, 1219-1222) I259a, 1781, 1798, 1799)* 5* 3*> 33> 34
Comanche 36 French Canada (103, 105, 107), 24, 33
Congo (161, 162, I92a, 201, 569, 628, 1245- Fuegians (898, 899)
Fulah ng
1248, I3o8a, I3o8b), 32, 33, 34, 35> 5$
Copper Eskimo (1473)
Gabon 34
Gabrielino Indians (1482)
Copts (764, 768 III, 773. 77, 782)
Cora Indians (848), 31 Galicia 31
Corea (314, 441, $86, 976}, 3^, 34 Ganda 35
Cordilleras de los Andes (139, 1829) Ganda/Soga 35
Corsica 3 1 Gazelle peninsula (439)
Creek Indians (976, 1706), 36 Genya 35
Crete (641) Georgia (418, 1157, 1160, 1350, 1943)
Crimea (1157) German Switzerland (273a)
Croatia (i29a, 1613, 1688-1691, 1925-1928), Germany (141, 415, 481, 649, 1637, 1891,
118 1901, 1902, 1903, 1940)
Cuba Gilbert Islands (1206)
(261, 265, 1384, 1574-16760, 1692), 3J,
33. *I8 Gogadara (1633)
Curacao (635, 636, 1848) Goldcoast (607, I7i8a)
Czechoslovakia {120, gi6a, 1613, 1834, 1835) Gond (975)
Dahomey (919)
Great Basin Indians 36
Dalmatia (1056) Greece (ancient) (fig. 32) (3, 4, 143, 355, 414,
Deccan (see South. India) 467, 506, 53iG, 539a, 592, 613, 638, 639,
Dayak (see Borneo) 641, 642, 686, 728a, 730, 904, 916, 923,
Delaware 36 951, 1178, 1239, 1270, 1369, 1419, 1421,
Denmark (668, 1693) 1446, 1522, 1528, 1529, 1531, 1534, 1535,
Djerba(ii88) 1546, 1549, 1550, I557 1624, 1625, 1772,
Djukaji 1866, 1887, 1888), 43, 63, 118
Dogon (662) Greece (modern) (133, 134, 1315, 1316, 1317,
Duala (1656) 1419, 1509), 32, 33, 34
Dyak (see Borneo) Greenland (1207, 1208, 1776, 1777, 1780)
Ecuador (139, 1829, 1942, I955b) Guaporg (1698)
Egypt (ancient) (fig, 33) (300, 516, 53ij, Guarahibo 35
764, 766-791, 793* 797, 798, 799, 800-810, Guarani (1726)
812, 1003, 1234, 1235, 1237, 1276, 1519, Guatemala (724, 1920)
1521, 1525, 1526, 1527, 1528, 1541, 1546, Gypsies (319, 1027, 1714)
1554, 1868, 1966), 50, 62 Hainan (1225)
Egypt (modern) (149, 150, 5310, 704, 793, Haiti (131, 1415), 30, 31, 32, 33, 34, 118
801, 802, 805, 1233, 1642, 1763), 20, 32 Haussa 54
England (88, 89, 232, 3i8b, 97*a, *355*, Havasupai Indians 31
1876, 1936), 119 Hawaii (253, 465, 466, 740, 957, 1264, 1265,
Erithrea 30 1273, 1362, 1474, 1479)
Eskimo (i59a, 484-486, 488, 489, 955, 1207- Haya35
1209, 1473, I775~i777* 1779. 1780, *944)> Hebrew (236, 254, 355, 479, 646, 661, 1229,
33,34 1238, 1546, 1549, 1677, 1869 18763,), 63
Esthonia (55, 56, 648, 649, 1202, 1203, 1443, Hebrew-Balkan (48)
1813), ng Hebrew-Ethiopian 30

144
Hebrew-Oriental (615, 933, 934, 935 93 8), 31
, Iran (see Persia)
Hebrew-Persian (932, 934), 31 Iraq (53 id)
Hebrew-Syrian (934) Ireland (1386, 1797), 33, i*9
Hebrew-Yemenite (932, 934), 31 Iroquois (no, 318, "468, 538, 1118, 1119,
Hebrides (38), 32
Hehe 35 Israel (236, 254, 355, 646, i876a)
Hercegovina (1055, 1261, 1334, 1465, 1466, Istria (47, 1056)
1613), xxS Italia (ancient) (23, 140, 143, 355,
467, 904,
Hidatsa Indians (372), 36 1240, 1421, 1512, i666a, 1868)
Hindostan (figs. 34 and 36) (18, 21, 189, 267, Italia (modern) (i6oa, 492, 493, 539,
1969),
295, 322, 337, 560, 1087, 1116, 1174, 1254, 33,33,34
1336, 1436, 1438-1442, 1501-1503, 1587, Jamaica (1471, 1472, 1475, 1478), 33, 118
1701, 1712, 1760, 1761, 1885), 43, 54, 118, Japan (54, 315, 321, 360, 442, 443, 445, 446,
691-695, 8i6b, 820, 887, 942, 9710, 9&oa,
Hindu-Java (1064, 1065, 1081, 1084, 1116) 1145, 1175, 1212, 1242, 1274, 1275, 1280,
Hittites (1236, 1867) I 3 2 5 1332, 1402, 1407, I47ob,
1408, 1411,
Hoggar 35 1415, I557a, 1753, 1765-1768, 1796, I9i9a,
Honduras 32 1953), 20, 29> 32, 33, 34^ 36 f 53. 63
Hopei (269) Java (fig. 40) (82, 202, 207, 211-219, 241,
Hopi (626), 3J, 36 633, 664, 684, 817, 1065, 1067, 1071, 1073,
Hottentots (92, 992, 995, 1006) 1075, 1078, 1081, 1084, 1086, 1097, 1099,
Hudson Bay Eskimo 33 1107, 1109, 1114, 1117, 1198, 1297, 1422,
Huichol 31 1536, 1949), 29, 30, 34, 39, 43, 5J, 56, 59,
Hungary (116, 118, 119, 121, 122, 124, 126- 3
128, 130, 155, 319, 361, 1058, 1404, 1756, Jerba (see Djerba)
1757, 1870), 28, 33 Jews (236, 254, 355, 543, 567, 6173, 646, 661,
Hutu (201), 35 936, 937> 939, 940, I039a, 1188, 1229,
Ibo (i244a, 1360, 1400, i88oa) I556a, 1677, 1712, 1867, 1869, 1877, i876a,
Iceland (893, 1778, 1906), 33 1917) (see also Hebrew etc. and Palestine)
Illyrians (1112) Kaa-ihwua (1726)
Incas (93, 687, 867, 881, 1165-1168, 1296, Kachins (667)
1586) Kai Islands (1085), 34
India (figs. 34 and 36) (10, 12, 13, 15, 16, Karelia (175)
18-21, 44, 66-81, 83-85, 100, 101, 132, Karesau (1628)
153, 171, 189, 191, 224, 266, 267, 273, Karnatic (see South India)
275, 295, 310-313, 322, 334-343, 346, Karkar (913)
347* 35 1 > 352, 417* 463, 464, 480, 490, Kashmir (97ib, 14070), 33
491, 542, 559, 560, 564, 56sa, 572, 577, Kazan Tatars (950, 1665)
593-595, 665, 818, 823, 928, 929, 943, Kelts 59
952, 967, 969, 97ib, 975, 1087, 1116, Kenya 35
1174, 1184, 1185, 1254, 1257, 1259, 1330, Khorasan (1755)
I33 1 ! I 33^, I 35 2 14070, 1411, 1413,
,
Kimbisa 3 1
1423-1433, 1435, 1436, 1438-1442, 1494, Kiowa Indians 36
1495, 1501-1505, 1510, 1516, 1549, 1561- Kipsigi35
1572, 1584, 1587, 1620, 1685, 1686, 1701, Kirgiz (842, 950)
1711, 1717, 1723, 1727, 1728, 1730, 1731, Kissi (1609)
1754, 1760, 1761, 1885, 1934, 1945, 1956- ^ Komani (999)
1961, 1967), 29, 31, 32, 33, 52, 54, 55, 63, Korana (see Hottentots)
118, 119 Korea (see Corea)
Indochina (192, 226, 227, 308, 323, 4i6a, Kroatia (see Croatia)
631-633, 705, 706, 910, 918, 1017, 1018, Kubu (832)
1025, 1190, 1191, 1365, 1437, 1683, 1729, Kukuya 30
1823), 31
Indonesia (2, 82, 87, 104, 202-219, 241, Kwakiutl (159)
332, 633, 664, 684, 702, 727, 817, 832, Laguna (147)
834, 875, 956, 974, 1053, 1062, 1063, 1065,
Laos (4i6a, 918, 1437), 3*
1067, 1068, 1070-1073, 1075, 1076, 1079- Lapps (473-477* 656, 1201, 1205, 1253, 1785)
1086, 1088, 1093, 1096-1099, 1103, 1107- 28
1109, 1 1 1 2-1 1 1 4, 1117, 1198, 1256, 1285-
Latvia (154, 618, 970, 973. *393,
1290, 1297, 1314, 1344, 1375, 1422, 1516, Lepcha (1844)
1536, 1615, 1680, 1697, 1708-1710, 1716, Lewis, Island of, (38)

1921, 1949, 1955), 20, 29, 30, 34, 39, 43, Libya 33
Lio (702, 1083)
44, 45, 51, 53, 54, 5&> 59> 63

145
Lithuania (222, 973, 1326, 1392) MingreHa (1157, 1162, 1171)
Livland (1231) Misharia (950)
Lokele 55 Moki (447)
Lombards Moluccas (956, 1085)
(539)
Louisiana (339^ 4 12 ) Mongolia (471, 7*9, i49> *379, 1380, 1382
Luba 35 1735- i? 6 3a, 1787). 28 54 >

Luba/Sanga 55 Montenegro (138), 118

Luchuans 1507, 1912, 1913* Mordvinia (1158, 1163, 1805, 1818)
(9703., 1506,
Moors (287, 52iC, 53if, 1499, 1808)
1950)
Lucumi (= Cuban Yoruba) 31 Morocco (277-285, 287, 288, 598), 32
Luiseno (1482) Moqui (vide Moki)
Luo 35 Mycenae (641)
544^54^ *O4 2 , Nabaloi (1327)
Macedonia (49, 5, S^o, 422,
1613, 1826), 118 Naga's 44
Madagascar (834, 1544. i&82 ), 33, 35, *l8 Nage (1083), 44
Madura (Indon.) (209, 210} Nandi 35
Maghreb (5216, 5316, 598) (see also Morocco, Navajo (1284^, 30, 31. 36
Navarre 31
Algeria, Tunisia, Tripolitania)
Near East (ancient and modern) (57, 148,
Mahafaly 33
Maidu (402)
166-170, 236, 254, 302, 355, 436, 479, 518,
Maikal Hills (463) 523. 53*A, 53iB, 53iC, 53*F, 53*a-k,
543, 546, 5^7> 590, 592b, 600, 601, 646,
Majorca 31
Makushi (863) 661, 796, 811, 822, 936, 937, 939, 94, 953,
(94, 160, 868, 956, 1031, 1079, 1728),
1036, 1037, 1181, 1188, 1229, 1236, 1237,
Malaya
1244, 1396, I407 a I 4i, 14"* 53 >, I55i,
,
I C
30, 31, 33
Malekula (354) I556a, 1590, 1591, 1593, 1677, 1712, 1755,
Malink6 34 1783, 1837, 1867, 1869, i876a, 1877, 1918),
Mamberamo Papuans (1068), 44 31, 32, 33, ^2 f 63
Mabuti (see Mbuti) Negritos 50
Man, Isle of, (97$a) Nepal (256) 33
Mandan Netherlands (3i3a, 438, 968, 1060, 1061,
(372), J<5
1105, 1900)
Manggarai (702, 1083)
New Britain (= Neu Pommern) (439, 914,
Manuwoko 34 915, 193)
Maori (28-31, 152, 429, 449, 645, 902, 977, New Caledonia (1383, 1838)
1363* 1724), 32
New Guinea (137, 156, 276, 292, 490, 647,

Maricopa (741) 650, 652, 653, 676, 733, 734, 913, 1068,
Marquesas (685) 1069, 1 102, 1409, 1628, 1629, 1633, 1675,
Matto grosso (1657), 33 1904, i9<Ma), 34, 44> 48, 49, 53
Maquiritare 35
New Hebrides (354)
Maramures (117)
New Ireland (=* Neu Mecklenburg) (714,

Maya (1588) 715, 830* 914* 915* I93i)

Mboko 30 New Mexico 31
Mbunda 35 New Zealand (28-31, 152, 429, 449, 645, 902,
Mbuti 35 977,1363,1724),^
Mecca (soSG) Ngada (702, 1083), 44
Medje 35 N'Goundi 30
Melanesia (354, 359. 439, 678, 714, 715, 731, Nias (1076), 22, 44
830, 831, 849, 853, 914* 915, 97 8 > 979, Nicaragua (358)
1041, I378a, 1383, 1603, 1649, 1838, 1930,
Nicobars 53
I93i} 33* 40 Nigeria (969, 890, I242a, 1360), 32, 33, 47
Menomenee (387, 392, 1284), 36 Nogai Tatars (950)
Mesopotamia (53 id) (see also Assyria, Baby- Ncotka (404, 1488), 36
lonia, Smnerians), 62 Norfolk ng
Mexico (27a, 257, 258, 260, 263, 264, 272, Normandy 31
468, 581, 582, 611, 612, 687, 689, 690, North America (100-108, 158, 159, 243, 250,
1035, 1059, U24b-e, 1154, 1266, 1282, 25oa, 252, 293, 309, 318, 350, 364-376,
1300, 1301, i3ora, 1412, 1452, 1558, 378-390, 392-402, 404-412, 421, 447, 468,
1588, 1589, 1673, 1674, 1694, 1718, 1786, 537, 538, 550. 553-555, 583, 599, 690, 700,
1920, 1939). 3* 36 736, 737, 740* 741, 743, 74S-74 8 , 750-755,
Miao (9, 1226) 828, 844, 848, 917, 1026, 1118-1124, 1217,
Micronesia (738, 749* 1041, 1774, 1849) I224f i, 1230, 1284, 1305, 1309, 1318,
Minangkabau 30 1327, 1356-1358, i3 6 *,

146
 I38sb, 1457-1459, 1469-1473, 1486, 1488, Persia (5, in, 29ia, 52iG, 53ig, 634, 912,
1582, 1583, 1614, 1670, 1671, 1706, 1733, 932, 934 *22, I028a/ii96, 1755), 29, 31,
1738, 1804, 1936), 20, 31, 32, 33, 36 33, 43, 63
Northumberland rrp Peru (139, 687, 688, 689, 945, 1829, 1830), 31
Northwest Indians (159, 405, 406, 583, 1469 Peul (see Fulah)
1488) Philippines (98, 362, 579, 663, 1493, 1596,
Norway (35, 39, 656, 723, 1224, 1577-1581), 1653, 1654)
33 Phoenicia 43
Nubi 35 Phrygia (1396)
Nubia (710) Piaroa35
Nyamwezi 35 Pima Indians (750)
Nyika/Chonye 35 PI6-Temiar (677), 33
Nyika/Giriyama 35 Poland (679a)
Nyika/Kambe 35 Polynesia (28-31, 152, 235, 245-249, 253,
Nyoro/Haya 35 294 317, 359, 391, 429, 449, 465, 466, 558,
Nyoro/Toro 35 645, 977-979, 1031, 1206, 1264, 1265, 1273,
Ob-Ugrians (1811, 1814, 1815) 1362, 1363, 1378, 1474, 1479, 1483, 1649,
Oceania (28-31, 152, 156, 164, 235, 245-249, 1695, 1724, 1774)
253. 294, 317, 332, 354, 359, 391, 429, Portugal (644a)
439, 449, 4 6 5, 4^6, 558, 645, 678, 685, 714, Provence 3j
7*5, 738, 740, 749, 830, 831, 849, 853, 902, Pskoff rjp
9*3> 914' 9i5 957, 972, 977-979, 1031, Pueblo Indians (389, 395, 401, 447, 625, 627,
"

1125, 1206, 1264, 1265, 1273, 1362, 1363, 750, 1470, 1801), 36
1378, I378a, 1383, I474 1479, 1483, 1506, Puerto Rico (468), 33, 218
1507, 1603, 1649, 1695, 1724* 1838, 1849, Puget Sound Salish (1469), 36
1912, 1913, 1930, 1931, 1950), 34 Puinave 35
Ochi (1880) Punjab 31
Ofaie*-Chavantes (i459a) Pygmees, African, (201), jg, 34, 35, 50
Ogow6 34, 35 Pygmees, Southeast Asian, (1068, 1102,
Ojibwas (250) ,
1414), 50
Okandi 30 Quechua (1585), 31
Okinawa (9703., 1506, 1507, 1912, 1913, Queensland (194)
1950)' 34> 63 Quileute (404), 36
Omaha Indians (555) Qunantuna (1930)
Ordos (1379, 1380) Rajastan 31
Orinoco 34, 35 Ramu district (647)
Orleans 3 J Rhodesia (958, 964, 1699)
Osaga Indians (554) Rong (1844)
Ossetes (1157, 1162) Ruanda-Urundi (162, 201, 854, 1307, 1308)
Ostyaks (1812) Rumania (113, 115, 117, 123, 177, 196, 1364,
Otomi (581, isoia) 1462, 1463, 1929, 1938, 1962), 28, 3J, 34,
Ovakuanyama (1004) 35, x*9
Ovambo (1004) Russia (43, 2ooa, 418, 472, 950, 1050, 1157,
Oxfordshire Jjp 1251, 1364^ 1388, 1665, 1943), 32, 33,
Pacific (see Oceania) 118, Jjp
Pahouins (see Fang) Ryu-kyu Islands (9700, 1506, 1507, 1912,
Paiute (1582, 1583), 36 1913, 1950), 32, 34, ^3
Pakistan (952, 1254, 1255), 31, 33 Samoa (391, 1031, 1695)
Palestine (236, 254, 479, 543* 557, ^ Sandchak (1827)
1229, I556a, 1712, 1867, 1869, i876a)> San Ildefonso Indians 31, 36
33 San Salvador (1935)
Panama (377, 596) Sara-Kaba (720)
Panamaquoddy 23 Sarawak (1344, l68 )
Pangwe" (see Fang) Sardinia (492, 493, 1969), 32, ug
Papago (385, 1614), 31, 3<* Sazek 119
Papuans (see New Guinea) Scandinavia (32, 34~37, 39, 229, 631, 656,
Patagonians (547, 1210) 668, 669, 723, 1224, 1320, 1577-1581, 1693,
Pawnee (386), 26, 36 1846, 19550)
Scotland (570), 34, 118
Pec"ory district (1251)
,,Pemsians" (323) Semai (868)
Pende (i256a, 12560) Seneca Indians (309, 468), 36
Perak 33 Serbia (i29a, 423-427, 948, 949, 9490, 1613,
Permiaks (1050, 1157, 1388) 1824, 1825), 33, 34* i*8

147
 Temiar (677), 33
Shawnee (1356) Terschelling (1060)
Shoshone Indians Teton Sioux (367)
Thailand (see Siam)
Siam (42, 437, 43ya, 4375, 858, 1066, 1417,
Tibet (3i8a, 568, 1702), 33, 63
1418, i68oa, 1744, 1770, 1824, 1832, 1836), Timor {figs. 42 and 44), 43, $4
29> 3* 53, 56
> Tinguian (579)
Siberia (6, 470, 475, 667, 950, 1168, 1812, Tiv (900)
1915). 44 Tonga (South Africa) (1002)
Sierra Leone (956a) Tonkin (1437)
Toraja (974), 43
Sioux (367, 370), jo, 33> 36 Torres Straits (675, 1342, 1343)
Siiiono (1634) Transylvania (116)
Siva oase (1612) Trinidad (1337), 118
Siovacs (120, gi6a 1613, 1834) Truk(738)
Slovenes (1054, 1613), 118 Tsarisen zip
Smith. Sound Eskimo (1209) Tsimshian Indians (599)
Society Islands (see Tahiti) Tuamotus (246)
Sokoto (fig. 43) (696, 890} Tuareg 35, jjp
Solomon Islands (849, 853, Tule Indians (376, 377)
Somali, (666, 709) Tunisia (630, 829, 1173, 1952), *p, 3$
Somerset ug Tupynamba (64b)
South Africa 37~39) (95 *93> 244, 921,
(figs. Turkestan (930, 1177)
958, 959, 961-965, 983-1002, 1004, 1006, Turkey (57, I3ob, i7oa, 148, 166-170, 518,
1039, 1707, 1788-1794, 1859, iSsga, 1937) 5 2 3 53 lC 822 I47 a* I 4 II > I 59
> 1591,
South America (u, 24, 25, 53, 62-64, 93, *593 1918), jo, 32, 43, jjp
139, 163, 172, 298, 357. 44<> 4&8> 54*> 547, Turkmenes (146, 950)
57ia, 597, 6i8a, 619, 621, 644, 687, 688, Turk Tatars (950, 1139, 1157, 1158)
690, 729, 735, 8 39> #63, 867, 881, 898, Tutelo Indians (751, 1123, 1124)
899, 903, 941. 944-946, 1032, 1165-1168, Tutsi (201), 32 33, 35, 118
1

I20Q, I20Oa, I2IO, I2l8, 1222, 1252, Tzotzil 31

1296, 1298, 1299, 1313. 1394. I459&, Uganda (1635, i666b, 1841, 1842, 1843), 35
1490, 1585, 1586, 1595* I 637 l657 1698* Uitoto (172)
1707, 1726, 1820, 1829, 1830, i83oa, 1932, Ukraine (43), 32, 33, ug
1933, 1942, 1946, i955k, 1964), 33, 5-r 118 UHasse (956)
South India (10, 32, 15, 16, 19, 20, 21, 44, Unong (910)
76, 273. 943* 1427-143^ 1433, *44 1495, Upper-Volta (34)
1505* 1561, 1562, 1570, 1711, 1803, 1956- Urdus = Ordos
1961), 31, 54 Uru-Chipaya (946)
Spain (347^ 4 3o-4 32a, 598, 759, 1272, 1277- Uruguay (63, 64)
1279, 1395, 1460, 1644-1648, 1655, 1659, Ute (371, 1583), 36
1660, 1661, 178/a, 1803, 1828), 3J* 33, 34 Uzbekistan 31
Spanish Jews 34 Vancouver (404, 1488)
Sudan (522, 53iE, 697, 1806, 1807) Vedda (1340, 1879)
Sumatra (2, 727, 1070, 1075, 1103), 56 Vendee 31
Snmerians (436, 53iF, 588, 590, 811, 1237, Venezuela (468, 1200), 34, 36
1867), 63 Vietman (192, 308, 926, 1129, 1610)
Sunda districts (1071, 1097, 1099), 29, 5J Virgin Islands 118
Surakartasp
Surinam (619, 621, 1032, 1218, 1962a), 33, 118 Walapai Indians 31
Svanes (1157, 1162} Wales (3i8b, 1797), ug
Swahili35 Wanyamwezi (835)
Swazi (42a) Washo Indians 36
Sweden (32, 34, 35, 37, 1320, 1846, 19550) Wasukama (838)
Switzerland (273a), 34 Watu(t)si (see Tutsi)
Syria (302, 53111, 953, 954, 1396) Wepses (1816)
Syrianes (1157) West Indian Archipelago (n, 261, 265, 468,
Tanganyika 34,35 635* 636, 920, 1337, 1384, 1471, 1472,
Tahiti (317, 1378, 1483), 33 1475. I478, i574-*576a, 1692, 1848), 30,
Tamil (273) 31, 32, 33, 118
Taos 31, 36 West Java (1097, *99, P- 35^ ff.) 5*. 56
Tatars (950, 1139, 1157, 1158, 1388, 1665) West Siberian Tatars (950)
Tanlipang (863) Wichita 36

148
Wianebago (383, 387, 389) Yugoslavia (47, 49, i29a, 138, 230, 231, 320,
Wisconsin (387) 422-427, 437, 544-546, 603, 757, 948, 949,
Moguls (1812) 949a, 1042, 1054-1056, 1232, 1261, 1319,
Wotyaks (1157, 1388) I333> *334 I465-H 6 7 I5H* 1^13, 1687-
yap (164, 1849) 1691, 1824-1827, 1910, 1911, 1925-1928),
Yaqui (393)> 3L 3^ 32, 33, 34. n8> 1*9
Yaswa 30 Yuma(n) (393, 395, 736, 741), jr, 56
Yekuana (863) Yurok (1614)
Yemen (932, 934). 3* Zambesi (244)
Yogo 35 Zande (628)
Yoruba (see also Ewe and Lucumi) Zande/Bandiya 35
1405)* 32, 33, n8 Zulu (990, 1792)
Yuchi Indians (1706) Zulu/Nde-ele 55
Zuni (625, 1470, 1804), 23, 31, 36

149
 Ill

INDEX OF PERSONS

Aalst, J. A. van, (i), 62 Avicenna (52 iD)

Abas, S. P., (2) Ayestaran, Lauro, (62, 63), 63
Abd Rabbihi, Ibn, (526) Azevedo, iLiiiz Heitor Corra de, (64-64^, 63
Abel, M. C. S., Father, (1931) Aziz Khan, Abdul, 118
Abort, Hermann, (3, 4)
Abraham, Otto, (820-823, 827, 828, 833, Baglioni, S., (65)
869), i2 9 25, 39, 41 Bahadhnrji, K. N., (66)
Abul-Sait (61) Bake, Arnold A., (fig. 22) (67-87, 565a, 1934),
Ackermann, Phyllis, (5), 62 64
Adler, Bruno, (6) Balfonr, Henry, (fig. 7) (88-97), 54, 57
Adler, Guido, (7) Banas y Castillo, Raynmndo, (98)
Adolf, Helen, (8) Bandar, Mahawala, (99)
Agnew, R. Gordon, (9) Bandopadhyaya, Sri Pada, (100, 101), 63
Agrawala, V. S., (10) Baratta, Maria de, (1935)
AMbrinck,W., (n) Barbeau, Marius, (fig. 18) (102110, 599), 24
Aiyar, C. Snbrahmania, (12-19), 63 Barkechli, Mehdi, (in)
Aiyar, M. S. Ramaswami, (20, 21) Barr^re, Georges, (1291)
Akbar Khan, Ali, ug Bartholomew, WiLnaer T., (112)
Albersheim, G., (22) Bartdk, Bela, (fig. 8) (113-1300), 28, 33, 37,
Alberts, Arthur S., 34 64
Albini, Eugenio, (23) Barzaga, Margarita Blanco, (131)
Alegria* Ricardo E., 32 Bascom, William, 32
Al-Farabi (144, 511, 515, 482 vol. I) Batra, Rai Bahadur R. L., (132)
Algazi, Leon, (fig, 12) Baud-Bovy, Samuel, (fig. 12) (133, 134)
Al-Kindi (1951) Bauer, Marion, (135)
AHende, Umbexto, (1932) Bayard, Samuel P., (1936)
Almeida, Renato, (24), 63 Beart, Charles, (136)
AJ-Mnfaddal ibn Salama (1490) Beaver, W. N., (137)
Alvarenga, Oneyda, {25, 1933), 63 Becking, Gustav, (138)
Amiot, Father, (26), 62 B&lard-d'Harcourt, Margh&rite, (139, 688,
Andersen, A. O., (27) 867, 1167, 1168)
Anderson, Arthur J. O., (a/a) Begun, S. J., 21
Anderssen, Johannes C., (28-31), 63 Behn, Friedrich, (140-143)
Andersson, Otto, (32-39), 62 Beichert, E. A., (144)
Andree, R., (40) Belvianes, Marcel, (145)
Ankermann, B., (41), 61 Belyaev, Viktor, (146-148)
Antonowytsch, M., (43) Bergstrasser, Gotthelf, (149)
Appnn ij Berliner^
Aravamnthan, T. G., (44) Berner, Alfred, (150)
Arbatsky, Ynry, (42b, 45-51, 1354) Bessaraboff, N., (151)
Aretz-Thiele, Isabel, (53) Best, Elsdon, (152)
Arima, D., (54) Bharata (84, 224, 895, 1184), 55
Arma, Panl, 31 Bhatkande, Vishnu Narayan, (153)
Arro, E., (55, 56) Bielensteiii, J., (154)
Aisnnar, Fermh, (57) Bierens de Haan, J. A., 48
Arvey, Verna, (58) Biro, L. A., (155), 24
Angusta, Fr. FeHx, (59) Bismillah IIQ
Avelot (60) Klaes, Jacob, (156)
Avenary, Hanoch, (61) Blankopf, K., (157)

150
Blume, Friedrich, (i5ya)
Boas, Franz, (158, 159)
Boden Closs, C., (160)
B6hme, Father M., (481)
Bolton, Laura, 32, 33, 118
Bonascorsi, A., (i6oa)
Bonnet-Bourdelot 48
Boone, Olga, (161, 162), 63
Bormida, Marcelo, (163)
Born (164)
Borrel, E., (i65-i7oa)
Bosanquet, R. H. M., (171)
Bose, Fritz, (172-190, 1929), jy, 20
Bose, S., (191), 26, 46, 64
Bourinot, Arthur, (109)
Bouisset, Max, (192)
Bouveignes, Olivier de, (ig2a, I92b)
Bouws, Jan, (193, 1937)
Boys, R. S., (194)
Brailoiu, Constantin, (fig. 12) (i95-2Ooa) f 28,
34> 35. ii9
Brandel, Rose, (201), 24
Brandts Buys, Johann Sebastian, (fig. 5)
(202-219), 62
Brandts Buys-van Zijp, Mrs. A., (204-212,
216-218)
Braschowanow, St., (220, 221)
Brazys, Th., (222)
Brediceami, Tiberius, (1938)
Brehmer, Fritz, (223, 876), 47
Breloer, Bernhard, (224)
Bris, E. le, (226, 227)
Briton, H. H., (228)
Britten, Benjamin, (1291)
Broholm, H. C., (229)
Br6mse, Peter, (230, 231)
Bruce-Mitford, R. L. S., (232)
Bracken, Fritz, (233)
Biicher, Carl, (234), 47, 64
Buck, Peter H., (235)
Budde, Karl, (236)
Buhle, Edward, (237)
Bukofzer, Manfred F., (fig.
26
Bulut, Tarik, 30
Bundu Khan xxg
Burlin, Nathalie, (243)
Burnier, Th., (244)
Burrows, Edwin G., (245-249), 62
Burton, Frederick R., (250), 24
Buttree, Julia M., (25oa)
Buvarp, Hans, (251)
Cadman, Charles W., (252)
Cadwell, Helen, (253)
Caferoglu, Ahmed, (253a)
Cahen, Abraham, (254)
Callenfels, P. V. van Stein, (255)
Campbell (256)
Campos, Ruben M., (257, 258, 1939)
Capitan (260)
Carpentier, Alejo, (261)
Carrington, J. F., (262)
Castaneda, Daniel, (263, 264)
Castellanos, Israel, (265)
Chaitanya Deva, B., (266)
Chandra Vedi, Pandit R. Dilip, (267)
Chao, Wei Pang, (268, 269)
Chao, Y. R., (270)
Chardon, Yves, 42
Chauvet, Stephen, (271), 57
Chavez, Carlos, (272), 63
Chelebi, Ewliya, (518)
ChengaJavarayan, N., (273)
Cherbuliez, Antoine E., (273a), 59
Chinchore, Prabhakar, (274)
Chinnaswamy, Mudaliax, (275)
Chinnery, E. W. P., (276)
Chottin, Alexis, {277-291, 792), 62
Christensen, A., (29ia)
Christian, Geoffry, (292)
Clark, E. R., (293), 24
Clemens, W. M., (294)
Clements, E., (295)
CUrisse, 55
Closson, Ernest, (296-302)
Cocks, William A., (3O2a)
Coeuroy, Andr, (303)
Collaer, Paul, (304, 304a)
Combarieu, Jules, (305, 306), 43
Comettant, O., (307)
Condominas, G., (308)
Conklin, Harold C., (309)
Coomaraswamy, Ananda K., (310-313), 6$
Corbet, August "L., (31 3a)
Courant, Maurice, (314, 315)
Courlander, Emma, 32
Courlander, Harold, (316), 30, 31 , 32, 33, 118
Couzens, Edward, 33
Cowell, Henry, jj, 32, 33
Crampton, H. E., (317)
Cringan, Alexander T., (318)
Crossley-Holland, P., (3 l8a 3 l8b)
Csenki, Imre, (319)
CsenM, Sdndor, (319)
31) (238-242), 24, CuSkov, Emaimil, (320)
Cunningham, Eloise, (321)
Dalai, Navinkumar, (322)
Dam, Bo, (323)
Danckert, Werner, (324-332, 1940), 20, 46
Daniel, F. S., (333)
Danielou, Alain, (334-343)* J^ 34
Dannsteter, James, (344, 345)
Das, K. N., (346, 347)
David, Paul, (347a)
Davies, E. Harold, (348), 63
Davy, J., (349)
Dawson, Warrington, (350)
Day, Charles Russell, (35i~353) 62
Deacon, A. Bernard, (354)
Dechevrens, A., (355, 356)
Dejardin, A., (357)
Delgadillo, Luis A., (358)
Delmas, Simeon, (359)
DemieviJle, Paul, (360)* 46
B6nes, Bartha, (361)
Denis 35
Bensmore, Frances, (fig. 10) (362-413), 24,
Beren, Maya, 34
Beubner, Ludwig, (414)
D^vigne, Roger, (416, 4i6a)
Dliarma, P. C., (417)
Biamant, Ernest, (1104)
Bidier, Andre*, 30, 32, 34, 35
Bieterlin, G., (662)
Birr, A., (418)
Bittmer, Ktmz, (419, 420, 1941}
Bixon, Roland B., (421)
Bjordjevic, Vladimir R., (422-427)
Bjondjeff, Stoyan, (428)
Bodge, Ernest, (429)
Bonington, Robert, (429^)
Bonostia, Father Jos Antonio de,
Briger, Hans Heinz, {433, 434, i682a), 25, 60
Breyfus-Roche, Simone, (i49oa), 28, 35
Briver, Harold E., (435)
Bnchesne, J., (670)
BBcnesne-Gnillemin, MarceBe, (436, 670)
Bmpeyrat, Andre* P., 34
Bnran, Sixto M., (1942)
Bnryaaga, Phra Chen, (437, 437 a)
Button, C. E., (532)
Bnyse, Florimond van, (438)
Eberleln, P. J., (439)
Ebner, Carlos Borromen, (440)
Eckardt, Andreas, (441, 886)
Eckardt, Hans, (442-446)
Eckholm, Gordon F., 31
Edison, Tliomas Alva, 28
Ehrenreich, Paul, (447)
Eliade, Mircea, (447a)
EIMn, A. R, (448), 32, 34, 63
ElMn, Clarence, (449)
Ellis, Alexander John, (fig.
1 1 n, 1734), 10 ff., 18
Elwin, Verrier, (463, 464)
Emerson, Joseph S., (4^5)
Emerson, Natkaniel H., (466)
Emznatrael, Maurice, (467)
Emricli, Buncan, (468), 34, 36
Emsheimer, Ernst, (fig. 25) (469-477, i943)
24,28
Endo, Hirosi, (478)
Engel, Carl, (479)
Engel, Hans, (480)
Eric, Lndwig, (481)
Eiianger, Rodolphe d*, (482, 483), 62
Escobar, M. L., (1200, i2Ooa)
Estreaciter, Zygmunt, (fig. 12) (484-489,
1944)
Exner, F., (490), 24
Faddegon, Barend, (491)
Fara, Goflio, (492, 493)
Farmer, Henry George, (494-531^, 1560), 46,
62
Famsworth, P. R., (532)
Felber, Erwin, (533-53Q, 24
36 Fenton, William N., (537 53^) 3$
Ferand, Ernst Th., (539, 5393.)
Fernald, Helen E., (540)
Ferreira, Ascenso, (541)
Fewkes, Walter, 23, 24
Figiieras, Jos6 Romeu, (1279)
Fillniore, John Comfort, (542)
Finesinger, Sol Baruch, (543)
Firfov, Givko (544-546)
Fischer, E., (547, 54 s)
Fischer, H. W., (549)
Fisher, Miles Mark, (550)
Fisk, Ernest, 2 1
Fleischer, Oscar (551, 552), 4$
Flesche, Francis la, (555)
(430- Fletcher, Alice Cmmingham, (553-555)
Foldes, A., (556)
Foley, Rolla, (557)
Forde, F. von der, (558)
Fox Strangways, A. H. (fig. 6)
1189), 12, 2j
Foy, Wilhelm, (566), 61
Fraknoi, Karoly, (567)
Francke, A. H., (568)
Francois, A., (569)
Eraser, A. B., (570), 28
Fraser, Norman, (571, 57ia), 36
French, P. T., (573)
Frobeiiius, Leo, 61
Fryklnnd, Baniel, (573~574a)
Fnentes, Eduardo Sanchez de,
32, 63
Fujn, Seishin (575)
Furer-Haimendorf, Christoph von, (1945)
Furness, Clifton Joseph, (576)
Fyzee-Rahamin, Atiya Begum, (577)
Gadzekpo, Sinedzi, (577a)
i) (450-462, Gailhard, A., (578)
Gaisseau, Pierre, 34, 35
Gale, Albert, (579)
Gallop, Rodney, (580, 581)
Galpin, Francis W., (582-592^ 1712, I945&)
Gangoly, Ordhendra Coomar, (593-595)
Garay, Narciso, (596)
Garcia, Angelica de Rezendi, (597)
Garcia Barriuso, Patrocinio, (598)
Garcia Matos, Manuel, (1277-1279, 1654)
Garfield, Viola E., (599)
Gascu4 F., (599^)
Gaster, Theodor Herzl, (600)
Gastou6, Ame'dee, (60 1, 602)
Gavazzi, Milovan, (603)
Gay, R., (6o3a, 6o3b), 36
Gbeho, PhilHp, (604-608)
Geiringer, Karl, (609, 610)
Genin, Auguste, (611, 612)
Georgevic, see: Bjordjevic
Georgiades, Thrasybulos, (613)
Gerson-Kiwi, Edith, (fig. 26) (6i4~6i7a), 16,
152
Gersoni, C., (618)
Gheerbrandt, Alain, (357)
Gibling, R. Styx, (6i8a)
Gilbert, Will G., (619-624), 64
Gilman, B. I., (625-627), 23, 24
Giorgetti, Filiberto, (628)
Gironcourt, Georges de, (629-633), 45
Gladwin, Frances, (634)
Goeje, C. H. de, (635, 636)
Goloubew, Victor, (637)
Gombosi, Otto J., (638-643)
Gonzales Bravo, A., (644)
Goris, R., (1064)
Graca, Fernando do Lopez, (644a)
Grace, C. W., (645)
Gradenwitz, Peter, (646)
Graebner, F., (647), 61
Graf, Walter, (648-655), 24
Graff, Ragnwald, (656)
Grainger, Percy, (657)
Granet, Marcel, (658)
Grattan, C. Hartley, (659)
Grattan Flood, William H., (660)
Gressmann, Heinrich, (661)
Griaule, M., (662)
Griffith, Charles E., (663)
Griffith, W. J., (663a)
Groneman, J., (664)
Grosset, Joanny, (665), 62
Grottanelli, Vinigi L., (666)
Grove 13
Grube, W., (667)
Griiner Nielsen, H., (668, 669)
Guebels, L., (6&9a)
Guillemin, M., (436, 670)
Gulik, R. H. van, (671-674)
Gurvin, Olav, (i945b)
Habig, J, M., (6 74 a)
Haddon, A. C., (675, 676)
Haden, R. Allen, (677)
Hagen, Karl, (678)
Hajek, L., (679)
Halski, Czeslaw R., (679a)
Handschin, Jacques, (fig. n) (680-684), 26 9
44,46
Handy, E. S, C., (685)
Harap, Louis, (686)
Harcourt, Marghe'rite d' t
1167, 1168), 62
Harcourt, Raoul d*, (687-690, 867, 1167,
n68),<52
Harich-Schneider, Eta, (691-695)
Hating, Douglas G., 32
Harris, P. G., (696, 890)
Hasselt, J. H. van, (1949)
Hause, H. E., (697)
Hawley (698)
Haydon, Glen, (699), 64
Haywood, Charles, (700)
Heekeren, H. R. van, (701)
Heerkens, Father P., (702), 40
Hefny, Mahmoud El, (703, 704, 1951)
Heger, Franz, (705)
Heine-Geldern, Robert von, (706, 707)
Heinitz, Wilhelm, (708-726), 9, 20
Heintze, R., (727)
Helfritz, Hans, (728)
Helmholtz, H. L. F,, 10, 12
Henderson, Isobel, (728a)
Henriques-Urena, Pedro, (729)
Herbig, Reinhard, (730)
Hermann, Eduard, (731)
Herrmann, Virginia Hitchcock, (1860, 1861)
Herscher-Clement, J., (732-734)
Herskovits, Francis, 32
Herskovits, Melville J., (735, 735a, 1946), 32,
34,36
Herzog, George, (736-759)* 2, 24, 26
Heymann, Mrs. Alfred, (760)
Hickmann, Hans, (fig. 29) (76i-8i2b), 26, 60
Hindemith, Paul, 41
Hipkins, A. J., (813-816), 10, IT, 129
Hitchcock, Polly, 32
Hobbs, Cecil, (1860, 1861)
Hodeir, A., (8i6a)
Hoffmann, Charles, 36
Hoist,Imogen (274)
Honda, Yasuji, (8i6b)
Hood, Mantle, (817), 24
Hoogt, I. M. van der, (818)
Hoose, Harned Pettus, (819)
Hornbostel, Erich M. von, (figs, n and 17)
(820-899, 1183, 1184, 1748), jo, 12, 13 ft.,
18, 20, 24, 25, 26, 29, 30, 39, 42, 43, 45, 46,
54, 55, 56> 57 > ^31
Hornburg, Friedrich, (900, 901)
Houston, John, (902)
Houston-P6ret, Elsie, (903)
Houtman, Cornells de, 22
Howard, Albert H., (904)
Howeler, Casper, (905)
Howes, Frank, (906, 907), 64
Howitt, A. W., (908)
Hsiao, Shu Hsien, (909)
Huard, Paul, (910)
Huart, CL, (911, 912)
Hubers, Father Hubert, (913)
Hubner, Herbert, (914, 915), 20, 46
Hnchzermeyer, Helmut, (916)
Hudec, Constantin, (9i6a)
(139, 688, 867, Hultkrantz, Ake, (917)
Humbert-Sauvageot, Mrs. M., (918, 919,
1787). te
Hurston, Zora, (920)
Husmaan, Heinrich, (921-927, 1947, 1948),
J7, 26
Hutchings, Arthur, (928, 929)
Huth, Arao, (930)
Ibn 'Abd Rabbihi (526)
Ibn Kurdadhbih (503)
Idelsohn, A. Z., (931-94). 24
Idohou (6693,)
Isamitt, C., (941)
Isawa, Sh., (942)
153
Iyer, T. L. Venkatarana, )943)
Izikowitz, Karl Gustav, (944-946),
Jackson, Wilfrid, (947)
Jacobson, E., (1949)
Jancovic, Danica, (948-9493)
Jancovic, Ljubica, (949, 949&)
Jansky, Herbert, (950), 24
Janus, Carolus, (951)
Jasim Uddin (952)
Jeannin, Bom J., (953* 954)
Jenness, D., (955. *473>
Joest,W., (956)
John,J.T.,(956a)
Johnson, Orme, (957)
Jones, Father A. M., (958-966)
Jones, William, (967)
JongLsn., J. L., (968)
Jungblut (969)
Jurjans, A., (970)
Kalidasa (1431)
Kamoriki, Te Kautu, (1206)
Kanai, Kikoku, (97oa, 1950)
Kanetnne-Kiyoske (887)
Karastoyanov, A., (9/ob)
Karpeles, Maud, (81, 971, 97ia, 1678, 1679),
64
Kataoka, Gid6, (9710)
Elate, ten, (972)
Katzarova-KoukotidoFa, R,, (972a)
Katzenelenbogen, U-, (973)
Kaudem, Walter, (875, 974), 60
Kaufmann, Walter, (975)
Keh, Chung Sik, (976), 63
Kennedy, Keith, (977-979)
Kerkar, Bai Kesarbai, rrp
Kidson, Frank, (979a)
Kiesewetter, R. G. (980)
KimotsuM, Kanekazu, (9&oa)
Kingslake, Brian, (98ob)
Kingsley, Victoria, (981)
Kinkeldey, Otto, (982)
Kirby, Percival R., (fig. 20) (983~ioo7a) 54,
Jjo
Kishibe, Shigeo, (1008-1010, 1796), 46, 63
Kiss, Jdzsef, (361)
Klier, Elarl, (1011-1014)
Klose, H., (1015)
Knosp, H., (io26-iO28a)
Koddly, Zoltan, (fig. 9) (116, 130), 28
Kohl, Louis von, (1029)
Kohlbach, B. r (1030)
KolinsM, Meczyslaw, (fig. 21) (1031-1034^,
26, 31, nS
Koller, Oswald, (10340)
Kollmann (1035)
Kombe, L., (964)
Komitas (1036, 1037)
Konig-Beyer, Walter, (1038)
Koole, Arend, (1039)
Koroma, Jean, 34
Kraeling, Carl H., (io39a)
Krause, Eduard, (1040)
60 Krauss, Al., (1041)
Kremenliev, Boris A., (1042)
Krishna Rao (1043, 1044)
Kroeber, A. L., (1327)
Krohn, Ilmari, (1045-1052), 64
Krayt, Albert C., (1053), 43
Kuba, Ludvik, (1054-1056)
Kiihnert, F., (1057, 1058)
Kunike (1059)
Kunst, Jaap, (fig. 13) (684, 1060-1117), 34,
44>46
Kunst-van Wely, Mrs. C. J. A., (1062, 1063),
46
Kurath, Gertrude P., (537, 538, 1118-1124!),
24
Kurosawa, Takatomo, (1125)
Kurth, E., (1126)
Kuttner, Fritz A., (1127-1130), j
Kutz, Adalbert, (1131)
Kyung Ho Park 51
Labouret, Henri, (1132)
Lach, Robert, (fig. 16) (655, 1133-1172), 20,
24> 47, 64
Lachmann, Robert, (fig. 19) (1077, 1173-
1189, 1951, 1952), 20, 26, 42, 46, 64
La Fleche, Francis, (555)
Laloy, Louis, (1190-1194), 62
Land, J. P. N., (217, 1195-1199)
Lara, M. de, (1200, i2ooa)
Launis, Armas, (1201-1205)
Laxton, P. B., (1206)
Leden, Christian, (1207-1209)
Lehmann, Werner, 18
Lehmann-Nitsche, Robert, (1210)
Lehtisalo, T., (1211)
Leroux, Charles, (1212)
Leslau, Wolf, 31, 32
Levis, John Hazedel, (1213-1215)
Levy, J., (1216)
Lichtenwanger, William, (1860, 1861)
Lichtveld, Lou, (1217)
lima, Emirto de, (1219-1222)
Undblom, Gerhard, (1223)
Lindeman, L. M., (1224)
Lindsay, Maurice, (i224a)
Liscano, Juan, 34, 36
Lismer, Arthur, (109)
Liu, Charles, (1225)
Liu,Chungshee Hsien, (1226)
Lloyd, Lloyd S., (i 227-1 228b), 26
Lods, Adolphe, (1229)
Lomax, Alan, (1230), 34
Lomax, John A., (1230)
Long, Kenneth R., (i23oa)
Longmore, L., (i23ob)
Loomis, A., 18
Loorits, Oskar, (1231)
Lord, Albert B., (i29a, 1232)
Loret, Victor, (1233-1235), 62
Machabey, A., (1236-1 241 a), 62
154
Machida, Kasho, (1242, 1953), 36 Moore, George F., (1324)
Mackay, Mercedes, (i242a) Moreux, Serge, (1325)
Maclean, Charles, (1243) Morici, G., (1326)
Macler, Frederic, (1244) Moss, Claude Russell, (1327)
MacLellan, John A., 118 Moule, A. C., (1328, 1329), 62
Madumere, Adele, (i244a) Mukerji, D. P., (1330, 1331)
Maes, Joseph, (1245-1248), 54 Miiller, (1332)
Ma Hiao Ts'iun, (1249) Murko, M., (1333, 1334), 24
Mahillon, Victor, (1250), 54 ft.
Mursell, James L., (1335)
Mahler, Elsa, (1251) Mutatkar, Mrs. Sumati, (1336)
Maimonides (513)
Myers, Ch. S., (1338-1344), 46
Manizer, H. H., (1252) Myint, Maung Than, 32
Manker, Ernst, (1253)
Manohar Barve", 1 18 Nadel, Siegfried, (i345-*35i), 24, 26, 46
Mansoor Uddin, M., (1254, 1255) Narasimhan, V. M., (1352)
Manusama, A. Th., (1256) Nathan, M. Montague, (1353)
Maquet, J. N., (i256a-c) Nau, Walter G., (1354)
Marbe, 18 Neog, Sri Maheswar, (1355)
Marcel-Dubois, Claudie, (figs. 12 and 30) Nettel, Reginald, (13550)
(1081, i257-i259a), 60, 135 Nettl, Bruno, (1356-13610)
Marchal, H., (1954) Nevermann, Hans, (1362)
Mariano, P. A., (1260) Newman, A. K., (1363)
Marijic, Father Branimir, (1261) Newmarch, Rosa, (1364)
Marimis, Albert, (1262) Nguyen van Huyen (1365)
Marks, R. W., (1263) Nikolov, Kosla, (1366)
Martenot, 60 Noone, H. D., 34
Martens, Frederick, (1266-1269) Norbeck, Edward, 32
Martin, E., (1270) Norlind, Tobias, (fig. 4) (i366a-i375), $4, 57
Martinez Tomer, Eduardo, (1272) Notopoulos, James, A., 118
Marx, B. L., (1273)
Masu, Genjiro, (1274, 1275), 34, 63 Obreschkoff, Christo, (1377)
Matchinsky, A., (1276) O'Brien, F., (1378)
Matos, Manuel Garcia, (12771279, 1654) Oldeberg, Andreas, (19550)
Matsunaga, Susumo, (1280) Oliver, D. L., (i378a)
Matthieu, G., (1281) Olympos (923)
Mayer, M. (1742), 41 Oost, P. J. van, (1379-1382), 24
Mayer-Serra, Otto, (1282) O'Reilly, Patrick, (1383)
McAllester, David P., (1283-1284^, 24, 36, Ortiz, Fernando, (1384), 63
62 Osa, Sigbj0rn B., (1385)
McPhee, Colin, (i285-i295a, 1955), & 2 Osanai, Tadao, (i385a)
Mead, Charles W., (881, 1296) Osburn, Mary Hubbell, (1385^
Meijer, D. H., (1297) O'Sullivan, D, J., (1386)
Melo, Guilhenne de, (1298) Ota, Taro, (1387), 63
Melo, Verissimo de, (1299)
Mendoza, V. T., (263, 264, 1300, 1301, i3oia) Paitonjiev, Gancho, (546)
Meng, Chih, (1302) Panoff, Peter, (1388, 1389}
Merriam, Alan P., (4&9a, 1304-1309), 24, 32, Panum, Hortense, (1390, 1391)
62 Park, Kyung Ho, 31
Merriam, Barbara W., (1309), 32 Parthasarathi, S., (1956)
Mersmann, H., (1310) Patai, Raphael, 31
Metfessel, Milton E., (1311, 1312), 18 Paterson, A., (1392)
M6traux, A., (1313) Paucitis, K., (1393)
Meyer, A. B., (1314) Payer (1394)
Michaelides, Solon, (1315-1317) Pearse, Andrew, (i394a)
Miles, C., (1318) Pedrell, Fdipe, (1395)
MiliSevic, Vlado, (1319) Peeters, R. P., (669a)
Moberg, Carl Allan, (1320) P^lagaud, Fernand, (1396, 1837)
Moeck, Hermann, (i32oa, I955a) Pepper, Herbert, (1397-140^), 62
Mohammed (1267) Peri, Noel, (1402), 62
Mondon-Vidailhet, M., (1321) Petit, Raymond, (1403)
Moreno, Segundo Luis, (i955b) Petneki, Jeno, (1404)
Montandon, Georges, (1322), 57, 58, 59 Philips, Ekundayo, (1405)
Moor, Arthur Prichard, (1323) Picken, Lawrence, (i4o6~i4O7c), 62

155
Piggott, Francis, (1408), 62
Plato, 44
Plischke, Hans, (1409)
Poch, Rudolf, (490, 652), 24
Pol, Balth. van der 41, 42
Poladian, Sirwarfc, (1410)
Polak,A. J., (1411)
Poleman, Horace L, (1860, 1861)
Ponce, M. M., (1412)
Popley, Herbert A., (1413)
Portmann, M. V., (1414)
Pound, Ezra, (1415)
Pradines, Emerante de, (1416)
Preuss, Karl Theodor, (848)
Pringsheim, Klaus, (1417, 1418)
Psachos, C. A., (1419)
Pulestone, F*, (1420)
Pythagoras (355)
Quasten, Johannes, (1421)
Raffles, Thomas Stamford, (1422)
Raghavan, V., (1423-1425), 63
Rajagopalam, T, K., (1426)
Rajnachandran, K. V., (1427-1432), 63
Ramachandran, N. S., (1433)
Ramon y Rivera, Luis Felipe, (1434)
Ranade, G. H., (1435, 1436)
RanH, Gyorgy, (1437)
Ras, T, V. Subba, (i957-*959)
Ras, "Vissa Appa, (1960, 1961)
Ratanjankar, Pandit, (1438-1442), 63
Raudkats, A., (1443)
Read, F. W., (1444)
Reese, Gustave, (1445)
Relnach, Theodore, (1446)
Reiner, M., (1447), 16, 17
Reinhard, Knrt, (1448-1452, 1947, I 94 8) 24>
25
Reinholm, A., (1453)
Reisner, Robert George, (1454)
R^vesz, Geza, (1455, 1456), 46, 47
Rhodes, Willard, (195 7-1959) , 24, 30, 31,
33,36
Ribeiro, Darcy (i459a)
Ribera y Tarago, J., (1460)
Richard, Mrs. Timothy, (1461)
Riegler-Dinu, Emil, (1462, 1463, 1962)
Riemann, Ludwig, (1464)
Rihtman, Cvjetko, (1465-1467)
Ritter, Helmnth, (1468)
Robb, J. D., 31
Roberts, Helen H., (fig. 27) (896,
1488), 24
Robinson, Kenneth, (1489)
Robson, James, (520, 1490)
Roche, Simone, (i49oa), 28, 3$
Rxxirignes, J. Barbosa, (1491)
Romansky, L., (1492)
Romualdez, Norberto, (1493)
Roosevelt, 34
Rosenthal, Ethel, (1494, 1495)
Rouanet, Jules, (1496-1499)
RonfJEaer, G. P., (1500)
Rouhet, GHbert, 30, 33, 34
Roy, Rabindralal, (1501-1505)
Rue, Jan la, (1506, 1507)
Ruehl, Father Theodor, (1508)
Ruelle, C. E., (1509)
Runge, Paul, (1510)
Sa'adyah Gaon (517)
Sachs, Curt, (fig. 3) (4, 851, 1511-1556), 13,
24, 46, 48, 49, 50 ff., 54, 55, 56, 57, 59,
60, 6r, 62, 64
Sachsse (i556a)
Saint-Saens, Canaille, (1557)
Saionji, Yoshikazu, (i557a)
Saldivar, Gabriel, (1558), 63
Salmen, Waiter, (1559)
Salvador-Daniel, Francesco, (1560)
Sambamurthy, P., (1561-1572), 63
Saminsky, Lazare, (1573)
Sanchez de Fuentes, Eduardo, (i574-i576a)
Sandvik, O. M., (1577-1581), 33
Sapir, Edward, (103, 1582, 1583), 24.
Sargeant, Winthrop, (1584, 1585)
Sas, Andr<, (1586)
Satyadeva, Geeta, (1587)
Savart, 12
Saville, M. H., (1588, 1589)
Saygnn, Ahmed Adnan, (1590-1593), 62
Schad, Gustav, (1594)
Schaden, Francisco S. G., (1595)
Schadenberg, Alex., (1596)
Schaefer, K. L., (1743)
Schaefmer, Andr6, (fig. 14) (1597-1611), 34,
57, 5*. 59
Schiffer, Brigitte, (1612)
Schimmerling, H. A., (1613)
Schinhan, Jan P., (1614)
Schipper, Ary, (i962a)
Schlager, Ernst, (1615)
Schlesinger, Kathleen, (1616-1625), 2 &
Schmeltz, J. D. E., (1626, 1627)
Schmidt, Leopold, (1963)
Schmidt, Father Wilhelm, (1628), 47, 48, 61
Schmidt-Ernsthausen, V., (1629)
Schmidt-Lamberg, Herbert, (1630, i63oa)
Schneider, Marins, (fig. 24) (759, 1279, 1631-
16610, 1964, 1965), 20, 26, 45
Schneider, Thekla, (1662)
Schoen, Max, (1664 1965^)
Schole, H., (1663)
Schottiander, J. W., (1632)
1469- Schullian, D. M., (1664)
Schunemann, Georg, (1665, 1666)
Scott, J. E., (i666a)
Scott, Nora E., (1966)
Scott, R. R., (i666b)
Scripture, E, W., 18
ScuUy, Nora, (1667)
Seashore, Carl E., (1668)
Seder, Theodor A., (1669)
Seeger, Charles, (i67oa), 36
Seeger, Peter, (1671)
Seewald, Otto, (1672)
-156-
Seler, Eduard, (1673, 1674) Swamp, Rai Bahadur Bishan, (1754)
Seligmann, C. G., (1675) Syama Sastri (1572)
Sena, Devar Surya, (1676) Sykes, M., (1755)
Sendrey, Alfred, (1677) Szabolsci, Bence, (1756-1759)
Shankar, Pandit Ravi, ng
Sharp, Cecil J., (1678, 1679) Tagore, Rabindranath, (6870, 75, 1727, 1934)
Shaw, George Bernard, 121 Tagore, Surindro Mohun, (1760, 1761)
Shelford, R., (1680) Taig, Th., (1762)
Sichard, Wolfgang, (1681) Takacs, Jen6 von, (1763)
Sichel, A., (1682) Takeda, Chuichiro, (i763a)
Siedersbeck, Beatrice Dohme, (i682a) Taki, R., (1764)
Simbriger, Heinrich, (1683, 1684), 26 Takono, Kiyosi, (1765, 1766), 63
Simon, Richard, (1685, 1686) Tanabe, Hideo, (1767, 1768), 63
Simpson, George Eaton, 33 Tanabe, Hisawo, (1769)
Sin'as, Ibn, (703) Tanaka, S., (1770), 63
Sirola, Bozidar, (1687-1691) Tannery, P., (1771)
Skjerne, G., (229) Tappert, Wilhelm, (1772), 45
Slonimsky, Nicolas, (1692-1694) Tate, H., (1773)
Smith, B. J., (1695) Taylor, C. R. H., (1774)
Smith, H., (1696) Thalbitzer, William, (1775-1777, 1780)
Smith, Peter Kite, 32 Thorsteinsson, B., (1778)
Snelleman, Joh, F., (1697) Thur&i, Hjalmar L., (1775, 1779, 1780, 1968)
Snethlage, Emil Heinrich, (1698) Thurston Dart, R., (i78oa)
Snowden, A. D., (1699) Tiersot, Julien, (1781, 1782)
Soderberg, Bertil, (1700) Tiessen, Heinz, (1783), 47
Solvijns, F. Baltazard, (1701), 130 Tillyard, H. Julius W., (1784)
Somanatha (1510, 1685) Tiren, K., (1785)
Somervel, T. Howard, (1702) Toor, Frances, (1786)
Sonne, Isaiah, (1877) Torhout, Nirgidiia de (1787), 62
Sosrosuwarno, Suhendro, (1921) Torner, Eduardo Martinez, (i787a)
Soulie", Georges, (1703) Torre, Emilio de, 31
Souriau, E., (1704) Tracey, Hugh T., (fig, 23) (1788-1795*), 34,
Spasow, Vasil, (1705) 35,36
Speck, Frank G., (1706) Traynor, Leo, (1796)
Speight, W. L., (1707) Trebitsch, R., (1797-1799), 24
Spencer, T. B. W., 12, 14 Trefzger, Heinz, (1800-1802)
Spies, Walter, (1708-1710), 30 Trembley, J. C, (532)
Spreen, Hildegaaxd N., (1711) Trend, J. B., (1803)
Sremec, Nada, (1927) Troyer, Carlos, (1804)
Stainer, John, (1712) Trnbetskoy, Prince N. S., (1805), 24
Stannus, Hugh, (1713) Tschopik, Harry, 31, 33
Starkie, Walter, (1714) Tucker, A. N., (1806, 1807)
Stearns, Marshall W., 32, 34 Tudi, Syioti, (887)
Stefaniszyn, B., (1715) Tyagaraja (1430, 1495, 1956, 1957, 1959)
Steinmann, Alfred, (1716)
Stern, Philippe, (1717) Ursprung, Otto, (1808)
Stern, W., ij
Stevenson, Robert, (1718) Vaisanen, A. O., (fig. 15) (i8o9-i8i9a), 62
Stewart, J. L., (171 8a) Valle, Flausino Rodrigues, (1820)
Stoin, V., (1719-1722) Valle, Nicola, (1969)
Stoll, Dennis Gray, (1723, 1967) Varagnac, A., (1821), 64
Stone, Doris, 32 Varley, D. H., (1822)
Stowe, G. W., 54 Varnoux, Jean, (1823)
Stowel, H. M., (1724) Vasajithakokflajn, Sm. N. C., ng
Strang, Gerald, (1725) Vasiljevic, Miodrag, (1824-1827)
Strelnikov, J. D., (1726) Vechten, C. van, (1828)
Strehlow, T. G. H., (i726a) Vega, Carlos, (i829-i83oa)
Strickland-Anderson, Lily, (1727-1731) Verbeken, A., (i83ob)
Stumpf, Carl, (fig. 2) (1732-1751), 24, 2$, 44* Verdeil, R. PaJikarova, (1831)
46 Verney, Frederick William, (1832)
Sturtevant, William C., (309) Verwilghen, Leo, 32
Sunaga, K., (1753), &3 Vetter, Walter, (1833)
Suwanto, R., 30 Vetterl, Karel, (1834, 1835)

157
VicMtr-Vadakam, H. E. Nai V.,
Virollaud, Charles, (1837)
Vols, P., (1838)
Wachsmann, K. P., (1839-1843), 62
Waddeil, L. A., (1844)
Wagener, G., (1845)
Walin, Stig, (1846)
Wallascliek, Richard, (1847)
WaJle, Joh. van de, (1848)
Walleser, Sixtus, (1849)
Wang, Betty, (1850, 1851)
Wang, En Sliao, (1852), 63
Wang, Kuan Chi, (1853-1856), 63
Wantzloeben, S., (1857)
Wannan, J. W., (1858)
Warmelo, Wiliem van, (1859, i859a)
Warnsinck, M., 22
J. C.
Waterman, Richard Alan, (735a, iS6o, 1861,
1970), 24, 28, 34
Wead, Charles K., (1862-1864), 24
Weber, Max, (i864a)
Wegelin, C. A., (1865)
Wegner, Max, (811, 1866-1868)
Weiss, Josef, (1869)
Weissmarm, John S., (1870)
Wellek,AIbert, (1871, 1872)
Wellesz, Egon, (1873-1875^
Wells, Evelyn Kendrick, (1876)
Wemer, Eric, (i876a, 1877)
Werner, Heinz, (1878), 47
Wertheimer, Max, (1879)
Weule, K., (1880)
Whyte, Harcourt, (i88oa)
Wiehmayer, Th,, (1881)
Wieschhof, Heinz, (897. 1882), 46
Wilhelm, Richard, (1883, 1884)
(1836), 63 Willard, N. A., (1885)
Williams, Ulric, 32
Wilson, E. W., (1886, 1971)
Wingert, Paul S., (599)
Winne, J. L., (685)
Winnington-Ingram, R. P., (1887, 1888)
Wintemitz, Emanuel, (1889), 62
Wiora, Walter, (fig. 28) (1890-1903, 1972),
26,46
Wirz, Paul, (1904, i9O4 a)
Witte, Father Fr., (1905)
Wodehouse, Mrs. Edmund, (1906)
Wolf, Siegfried, (190?)
Wolf, Johannes (1972^)
Wood, Alexander, (1908)
Worms, S. A. C., (1909)
Wundt, Wilhelm, 47
Wunsch, Walter, (1910, 1911)
Yaffl, E. N., (1499)
Yamanouchi, Seihin, (1912, 1913)
Yasser,J., (1914-1917)
Yekta, Raouf, (1918), 62
Young, R. W., (1919), *6, &
Yoshida, Tsuenezo, (1919^)
Yurclienko, Henrietta, (1920), 31, 56
IJzerdraat, Bernard, (1921)
Zagiba, Franz, (19 73)
Zaw, U Khin, (1922, 1923), 63
Zerries, Otto, (1924)
2ganee", Vinko, (1925-1928)
Ziehm, Elsa, (1929)
Zoder, Raimund, (1974)
Zoete, Beryl de, (1710)
Zwinge, Hermann, (193)
158-
 By the same author:

MUSIC IN JAVA
ITS HISTORY, ITS THEORY AND ITS
TECHNIQUE
Second, revised and enlarged edition
translated from the Dutch language by
Emile van Loo.

In two volumes

"The appearance of a book on Javanese

music in English is welcome indeed, es-
pecially if that book is written by Dr
Jaap Kunst, who is undoubtedly the best
authority on the subject."
International Folk Music Journal.

"...by far the most comprehensive and

important work written on the subject
a standard work the like of which could
never be written again." Ethnos.
"The wealth of facts which the author
gives us the fruit of eighteen years
is
residence in Java during which he
travelled far and wide over the whole
country collecting as much information
as possible." Eastern World.
"This is a valuable book for two reasons,
firston account of the author's great
experience and the love he has brought
to the treatment of his subject, secondly
on account of the faithfully described
material itself." Man.
"So ist das Buch in der neuen Form erst
recht ein Standardwerk, das seine Welt-
geltung weiter befestigen wird.*'
Die Musikforschung.
"AJles in allem: eine vorbildliche Arbeit,
die kaum mehr irgendwelche Wiinsche
offenlasst, ein Kompendium alles dessea,
was mit der Musik in Java zusammen-
hangt, wie es umfassender und zugleich
komprimierter kaum denkbar ist"
Anthropos.

Volume I: XVI and 41 1 pages.

With tables and musical examples.
Volume II: pp. 413-640, including
165 on art paper,
illustrations

bibliography, 64 apendices(musical
examples, tables etc.)* generalindex,
2 vok 4to. Cloth Guilders 46~
 GO

115 105