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387Central African Republic, Bangul. “Instruments de la musique particuliers a certaines ethnies de laRepublique Centrafricaine.”1972, Georgia. The 5 th National Seminar of the Musicologists andFolklorists of the USSR was held in Georgia on 27 th May – 7 th June. The title of theseminar was “Polyphony in Folk Musical Art.” The seminar was organized as a jointventure of the Folklore Commission of the Union of Composers of the Soviet Union(chair – Eduard Alexeev) together with the Union of Composers of Georgia and theMusical-Choreographic Committee of Georgia. Scholarly sessions were organized indifferent cities of western Georgia. Seminar participants had meetings with numerouslocal ensembles (according to the official letter, 32 ensembles), and over 200 songs wereperformed and recorded by the participants during these performances. Some scholarsattended the seminar without the formal paper. No papers or abstracts of the papers of theconference were published. The list of scholars and their papers is as follows:1. Robert Atayan, Armenia, Erevan. “On polyphony in Armenian folk Music.” 2. VladimirGoshovski, Armenia, Erevan. a) “Classification of the types of polyphony”; b) “Is heterophony apolyphony?” 3. Elena Murzina, Ukraine, Kiev. “Sociological aspect of the study of group singing.” 4. NinaGerasimova-Persidskaia, Ukraine, Kiev. “Reflections of the characteristics of traditional polyphony in themanuscripts of the 17 th -beginning of the 18 th centuries.” 5. Bairam Guseinli, Azerbaijan, Baku. “Element ofpolyphony in Azerbaijan traditional music.” 6. Grigol Chkhikvadze, Georgia, Tbilisi. “Georgian traditionalpolyphony and its characteristic features.” 7. Iakov Vitolin, Latvia, Riga. “Drone polyphony in Latviantraditional song.” 8. Nariman Mamedov, Azerbaijan, Baku. “Elements of polyphony in Azerbaijanmughams.” 9. Nikolai Boiarkin, Mordva [Russia], Saransk. “Stylistics of Mordvinian folk songs.” 10.Evsevi Chokhonelidze, Georgia, Tbilisi. “Issues of chordal structures of Georgian folk songs.” 11.Margarita Mazo, Russia, Leningrad. “Polyphonic types from Vologda.” 12. Igor Kniazev, Russia, Moscow.“Performance forms of part-singing according to the materials of fieldwork to the Voronezh region.” 13.Dmitri Pokrovsky, Russia, Moscow. “Some features of the instrumental polyphony in Pskov region.” 14.Valerian Magradze, Georgia, Tbilisi. “Reconstruction of the relict forms of Georgian folk polyphony.” 15.Mindia Jordania, Georgia, Tbilisi. “The ways of emergence of Georgian polyphony.” 16. Tatiana Ganzina,Ukraine, Kiev. Distribution of different types of polyphony on the territory of the Ukraine.” 17. VladimirMatvienko, Ukraine, Kiev. “Ways of development of polyphony in Ukraine.” 18. Atanazar Matiakubov,Uzbekistan, Tashkent. “Polyphonic thinking in Uzbek folk music.” 19. Bekten Beishenbiev, Kyrgyzstan.“Contemporary forms of Kyrgyz folk polyphony.” 20. Arvidas Karashka, Lithuania, Vilnius. “Peculiaritiesof polyphony of Lithuanian instrumental sutartines.” 21. Udo Kolk, Estonia, Tartu. “Setu polyphony.” 22.Shaban Shu, North Caucasia (Russia), Maikop. “Problems of polyphony in Adighian instrumental music.”23. Iulia Krasovskaia, Russia, Moscow. “Linear means with polyphonic combination of choral lyricalwedding song and the bride’s weeping (wedding ritual of Pereslavl-Zelenskogo).” 24. LarissaKostriukovets, Belarus, Minsk. “’Kant Polyphony’ in Belarus.”1973, Austria. “Drone in European Folk Music” was the title of theinternational conference that was held in Saint-Polten, Austria, on May 28- June 2, 1973.According to the conference program, 16 papers were delivered, and ten of them (onenew among them, on drone polyphony in Iceland) were published as a separate collectionin 1981 in German (see Deutsch, 1981). In this list the papers that were not published aremarked with *:1. Walter Deutsch*. “Der bordun in der europaischen volksmusik.” 2. Reidar Sevag*.“Bordunierende Volksmusikinstrumente in Norwegen.” 3. Karl Frank*. ”Zur maultrommel inSuddeutschland.” 4. Brigitte Bachmann-Geiser. “Schellenschutteln und Talerschwingen in der Schweiz.” 5.Ivan Kachulev. “Zveistimmige Volksmusikinstrumente in Bulgarien.” 6. Dragoslav Devich. “Typenserbischer Sackpfeifen.” 7. Tibor Ehlers. “Formen und Moglichkeiten der drehleier.” 8. Birthe Traerup.“Bordunierende Zveistimmigkeit in Mazedonien.” 9. Felix Hoeburger. “Bordunbildungen in derVolksmusik Griechenlands.” 10. Felix Karlinger*. “Die sardischen Launeddas.” 11. Claudie Marcel-Dubois*: La musique instrumental a bourdon dans la tradition populaire francaise.” 12. John A. Brune.“Piob mhor und andere britisch-irische Sackpfeifen.” 13. Klaus Walter. “Die bordunpraxis in der