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177of Northwest American Indians and some South American indigenous peoples, or theunique overtone singing style of some Central Asian peoples.I want to repeat here again that despite all my efforts to represent all the majorpolyphonic traditions of the world, I am sure that the list of polyphonic regions andcultures in this review is not complete. It is definitely beyond the possibility of oneresearcher to comprehensively review all the known in contemporary ethnomusicologypolyphonic traditions of the world. So, despite my lifelong interest in traditionalpolyphonic cultures, and the most generous help of my colleagues, experts of traditionalpolyphony from different regions of the world, this review by no means can beconsidered complete. I am sure experts of different regions of the world will find theinformation about many polyphonic traditions incomplete. And of course, the possibilityof finding of new interesting traditions of vocal polyphony is still with us, particularly inthe regions, traditionally known as “monophonic”.Another important issue that must be taken into consideration, when we trying tocreate the cartography of the polyphonic tradition, is the possibility of the presence ofvocal polyphonic traditions in several regions of the world where we currently do nothave live traditions of vocal polyphony, but historical sources give us some grounds todiscuss this issue. I will attempt to discuss some of these regions in the next part of thisbook, completely dedicated to the historical and comparative study of traditionalpolyphonic cultures from different regions of the world.######### ######### ######### ######### ######### #########