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3901. Izaly Zemtsovsky, Russia, Leningrad. “Specifics of polyphonic articulation: Texture andtimbre.” 2. Barbara Krader, USA “Traditional polyphony in Bulgaria.” 3. Susanna Ziegler, Germany,Berlin. “ Caucasian polyphony in the mirror of German musicology.” 6. Margarita Mazo, USA “Types ofRussian Polyphony.” 7. Dragoslav Devich, Serbia, Yugoslavia “Traditional two-part singing in Serbia.” 8.Nguen Van Nam, Vietnam (Russia), Nalchik “Polyphonic types in traditional music of Vietnam.” 9.Tamaz Gabisonia, Georgia, Tbilisi State Conservatory. “Ostinato polyphony in Georgian traditionalmusic.” 10. Nailia Almeeva, Tatarstan (Russia), Kazan. “Fifth-Third texture (one of the types ofpolyphony) among Christened tartars and its analogues among the peoples of Middle Volga Region.” 11.Christopher Arakelov, Georgia, Tbilisi State. “Cadence in Georgian (Samegrelo) traditional polyphonicsongs.” 12. Igor Macievsky, Russia, Leningrad. “On the role of the socio-psychological factors in theestablishing of polyphonic texture in the compositions of traditional instrumental ensembles.” 13. OlegGerasimov, Russia, Mari. Yoshkar-Ola. “Genre and regional peculiarities of Mari polyphony” 14. LarissaKhaltaeva, Kazakhstan, Alma-Ata. “Phenomenon of drone polyphony in the system of cosmogonist imagesof Turkic-Mongol peoples.” 15. Joseph Jordania, Georgia. Tbilisi. “Genesis of polyphony and the origins ofthe articulated speech.” 16. Martin Boiko, Latvia, Riga. “Ethno-historical aspects of Latvian dronepolyphony.” 17. Ketevan Baiashvili, Georgia, Tbilisi. “Problem of the origins of Georgian polyphonicdirges and funeral hymns.” 18. Eduard Barsegian. Armenia, Erevan. “On polyphony in Ancient Armenia.”19. Villis Bendorf, Latvia, Riga. “Some preliminary remarks on the links between Baltic and Caucasianpolyphony.” 20. Tamara Blaeva, North Caucasia (Russia), Nalchik. “Traditional types of polyphonictextures in Adighian traditional songs.” 21. Liudmila Boiarkina, Mordva (Russia), Saransk. “Mordvinianand South Russian polyphonic traditions (question of interrelationships).” 22. Nikolai Boiarkin, Mordva(Russia), Saransk. “On the issue of common features of traditional vocal and instrumental music ofMordva.” 23. Liubov Berger, Russia, Moscow. Georgian folk polyphony in the context of the origins ofWest European polyphony.” 24. Edisher Garakanidze, Georgia, Tbilisi. “Considerations of the origins ofGeorgian polyphony.” 25. Nato Zumbadze, Georgia, Tbilisi. “On antiphonal polyphony (on the materialsof women’s songs from East Georgia).” 26. Mzia Iashvili, Georgia, Tbilisi. “On structural principles ofGeorgian neumatic writing in the light of Ioanne Petritsi teaching.” 27. Viacheslav Kartsovnik, Russia,Leningrad. “Secondal diaphony in Medieval Italy and on Balkans.” 28. Mikhail Lobanov, Russia. Russiantraditional polyphony of Pynezh region according to contemporary materials (60 th anniversary ofpublication of “Pynezh songs” by E.V. Gippius and Z.V. Evald).” 29. Valerian Magradze, Georgia, Tbilisi.”Characteristic melodic formulas as important structural element of Meskhetian traditional music.” 30.Tamar Meskhi, Georgia, Tbilisi. “Georgian polyphonic urban songs.” 31. Iaroslav Mironenko, Moldavia,Kishinev . “On double nature of unison singing.” 32. A. Mozias, Russia, Leningrad. “On the study oftraditional polyphony from the point of view of singers behavior and self-assessment.” 33. MariamOsitashvili. Georgia, Tbilisi. “On interrelationships of the parts in Georgian chants.” 34. Daiva Rachiunaite,Lithuania, Vilnius. “The role of the “collector” in forming the sutartines.” 35. Maria Roditeleva, Russia,Ufa. Polyphony as the essence of the musical process in Russian folk music.” 36. V. Sai, Russia,Leningrad. “Elementary contrapuntal forms in musical cultures of written and oral traditions: Towards theestablishing of the united theory of the counterpoint.” 37. Vaike Sarv, Estonia, Tallinn. “Polyphonic dirgesin singing traditions of Setu.” 38. Elena Khodorkovskaia, Russia, Leningrad. “Problems of traditionalpolyphony in theoretical conception of B.L. Yavorsky.” 39. Nino Tsitsishvili, Georgia, Tbilisi. “Balkan-Georgian musical-ethnographic parallels.” 40. Evsevi Chokhonelidze, Georgia. Tbilisi State Conservatory.“The phenomenon of Georgian folk polyphony.”1989, Russia. The conference entitled “Vocal Polyphonyof the Peoples ofRussia” was held in the Russian city of Voronezh, from September 24 th -29 th 1989. It wasorganized by the Musicology and Folklore Committee of the Union of Soviet Composersand the Gnesin State Musical-Pedagogical Institute. Short versions of the papers (eachover three pages, some with musical examples) were published in Russian (seeEngovatova, 1989). Here is the list of scholars and their papers according to theconference program and the published materials (some of the papers were not publishedand they are marked with *):1. B. Efimenkova*, Russia, Moscow. “Russian vocal polyphony in the light of the structuraltypologicalresearch.” 2. Yulia Evdokimova*, Russia, Moscow. “Principles of classification of the earlyforms of polyphony in foreign studies.” 3. Izaly Zemtsovsky, Russia, Leningrad. “Drone in the music of the