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394Shilakadze, Georgia. “On regional styles in Georgian instrumental music (Svaneti).” 24. Nina Shvelidze,Georgia. Georgian multistemmed salamuri – Larchemi (Soinari).” 25. Ketevan Nikoladze, Georgia. “Onthe problem of interrelationship between the forms of polyphony in vocal and instrumental music.” 26.David Shugliashvili, Georgia. “Georgian chanting schools and traditions.” 27. Manana Andriadze & TamarChkheidze, Georgia. “System of chreli in Georgian sacred music.” 28. Ekaterine Oniani, Georgia. “On theproblem of decoration (“gamshveneba”) of hymns in Georgian chanting.” 29. Mariam Ositashvili. Georgia.“On some peculiarities of Georgian old professional music. ” 30. Nino Tsitsishvili, Australia. “The study ofgender in Georgian ethnomusicology.” 31. Tamar Meskhi, Georgia. “On Georgian traditional music in theSoviet period.” 32. Marine Kavtaradze, Georgia. “Transformation of traditional musical cultures withintypologically foreign cultures.” 33. Susanne Ziegler*. Germany. “Voices from the past”: Caucasianpolyphony in historical sound recordings from the Berlin Phonogram Archive.” 34. Nato Zumbadze,Georgia. “Georgian polyphonic songs and its foreign performers.” 35. Frank Kane, France. “Learningtechniques for Georgian singing used by Georgia choruses abroad.” 36. Michael Bloom, UK. “Georgiansinging in the United Kingdom – joys and pitfalls.” 37. Richard Gough, UK. Georgian song in Wales andbeyond (part 1 – An account of beginnings, imaginings and savoring).” 38. Joan Mills, UK. Georgian songin Wales and beyond (part 2 – The development of interest in Georgian song within the “community Choir”movement and in performance training).”2002, Taiwan. An International Forum of Ethnomusicology “Polyphonicsinging in traditional societies: Behaviour and aesthetics”, was organized by TaipeiNational University of the Arts, Department of Musicology. The conference was heldfrom October 21 st to October 25 th . According to the very limited available information,14 participating ethnomusicologists delivered papers at the conference. The papersdiscussed different aspects of the polyphonic tradition of Taiwan minorities (Bunun,Ami, Paiwan, Atayal, Tsou), Chinese minorities (Hani, Toung, Chuang), Vietnam(Luang), Mongolia, Sardinia, Albania, Indonesia, Philippines, and Solomon Islands.2004, Georgia. The second International Symposium on TraditionalPolyphony was organized from September 23-27, 2004 at Tbilisi Ste Conservatory. Afterthe symposium participants travelled to Western Georgia, Guria, to attend the “FirstInternational Festival of Gurian Traditional Polyphonic Song” (29-30 September). Fullpapers (in English and Georgian) were published in 2005 (Tsurtsumia and Jordania,2005). Here is the list of scholars and the titles of the papers:Izaly I. Zemtsovsky, USA. “Polyphony as ‘Ethnohearing’ and Its ‘Musical Substance’: HomoPolyphonicus in Action.” 2. Joseph Jordania. Australia. “Interrogo Ergo Cogito” – “I Am AskingQuestions, Therefore I Think”: Responsorial Singing and the Origins of Human Intelligence.” 3. Woolf vanSilver. UK. “Is Polyphonic Singing Uniquely Human?” 4. Gia Bagashvili, Georgia. “The AestheticPolystageness of Georgian Musical Folklore.” 5. Nino Pirtskhalava. “On the Significance of Ioanne Petritsiin the History of Georgian Hymnography.” 6. Tamaz Gabisonia, Georgia. “Hypotheses About the Processof the Formation of Georgian Polyphonic Singing.” 7. Dieter Christensen, USA. “Vocal Polyphony inBosnia-Herzegovina in the Georgian and Mediterranean Context.” 8. Daiva Rachiunaite-Vychiniene,Lithuania. “Manifestations of Drone in the Tradition of Lithuanian Polyphonic Singing.” 9. NatoZumbadze, Georgia. “Georgian Batonebi Songs.” 10. Ardian Ahmedaja. “On the Diversity of MultipartSinging Among the Albanians: The Relationship Between the Parts in the Songs of Toskeri and Myzeqe.”11. Nino Kalandadze-Makharadze, Georgia. “The Funeral Zari in Traditional Male Polyphony.” 12. EvgeniEfremov, Russia. “Role of a Tonality in the Formation of Early Texture Types in Ukrainian Polessye.” 13.Bozena Muszkalska. “Dirty Singing” as a Feature of the Sound Ideal in the Traditional Polyvocality ofMediterranean Cultures.” 14. Maka Khardziani. “Reflection of the Tradition of Hunting in Svan MusicalFolklore.” 15. Vladimer Gogotishvili. “On Authentic and Plagal Types of Monotonic (Non-Octave) Scalesin Georgian Traditional Vocal Polyphony.” 16. Thomas Hausermann, Switzerland. “The GeorgianCalendar Song for Easter Chona.” 17. Nino Gambashidze, Georgia. “The Tradition of Chona (EasterRitual) and Some Issues of its Genesis.” 18. Otar Kapanadze, Georgia. “The Interrelationship Between theRound-Dance Songs of the East Georgian Mountain and Plain Regions.” 19. Gerlinde Haid. “Yodel fromAustria – a Contribution to Early European Polyvocality.” 20. Ketevan Manjgaladze, Georgia. “Varieties of