The Exotic Music Society

evidence on which we can base probabilities or even certainties rather than mere vague or hypothetical conclusions. Let us take another example-that of polyphony. Where is it found (and the maps must be on a large enough scale to permit detailed localization)? What is the geographic distribution of each type of polyphony (simple, double, fixed, oscillating bourdon; parallel fourths, fifths, or other intervals; contrary motion; of two, three or more voices, etc.)? Here again, cartography would disclose the most archaic types, those which are universal, those which are due to cultural differences, etc. And it is also possible to see how a detailed map of musical instruments or of specific melodic types, considered always against ethnographic and other maps, could give valuable clues to fixing points of origin, as well as to the presence or absence of various outside influences or possibly migrations. The realization and publication of a work such as that envisaged here cannot be achieved by a single individual or even by a single local or regional organization; if anything good is to come of it, all interested musicologists must agree to the project and give freely of their advice and suggestions. It is in dealing with these various problems that we have proposed the problem of cartography as the principle theme of the Third Colloquium at Wegimont (Liege) of European ethnomusicologists in September 1958. All suggestions received from our extra-European colleagues will not only be received with gratitude but will be conceived as the first step in the labor we propose, as the first gesture in a great collaboration and as the beginning of a common work which we feel to be indispensable to the progress of ethnomusicology

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