Central Asia Music Resources

CENTRAL ASIAN

MUSIC RESOURCES

- by D.C.

This is a listing of journal articles, books, and sound recordings which deal with music associated with the region known as Central Asia. Countries included in this survey include Afghanistan, Kazakhstan, Turkmenistan, Uzbekistan, Kyrgystan, Tajikistan, Mongolia and parts of Russia and China.
Ethnic groups in this region often cross the boundaries of nation-states (e.g., Kazakhs in Mongolia, Kazakhstan, Afghanistan and China; Mongols in China, Mongolia, and Russia; Uighurs in Kazakhstan and China).
Examined items are followed by my annotation; no annotation means that I did not have access to that particular item or did not yet have the time to examine it. Coverage of books and articles were limited to items in English, German and French. I noted if the item included a bibliography, photos, musical examples, diagrams, a discography/videography or an index. The bewildering array of romanization schemes for languages in this area meant that vernacular terms (musical instruments, for example) are given as presented by that source, with no attempt to reconcile variant spellings in
comparison with other sources.
Dates of bibliographical items fall within 1970-1997, while recordings cover 1950-1997. For bibliography prior to 1970 I refer the reader to Mark Slobin's bibliography in his and Greta Slobin's translation of Viktor M. Beliaev's Central Asian Music: Essays in the History of the music of the
Peoples of the U.S.S.R. (Middleton, CT: Wesleyan University Press, 1975) (pp. 335-340).

Bibliography
Aksenov, A. N. 1973 [1964]. "Tuvin Folk Music." Asian Music 4(2):7-18.
General presentation of Tuvin folksong along with a more detailed presentation of 4 styles of Tuvin throat-singing (khomei): kargiraa, borbannadir, sigit, and ezengileer. Musical examples with presentation of fundamentals and partials.
Batzengel. 1978. "Mongolia." Musical voices of Asia. Y. Minegishi and R. Emmert, eds. pp. 45-53. Tokyo, Japan: Heibonsha Limited, Publishers.
This conference volume presents several Asian music traditions: Japan, Burma, India, Iran, and Mongolia. Mongolian performances are presented and introduced by Batzengel; all proceedings are in English, but Mongol language in Cyrillic is given for song texts. Articles on urtiin duu (textual and
musical analysis), xöömii (acoustic analysis) , including an article on biphonic singing by Tran. Organological description of morin xuur and yoochi'n. Mongolian performers include Norobanzad (famous urtiin duu singer), Sundui (xöömij singer), Batchuluun (morin xuur), Marusha (yooch'in)
perform with commentary by Batzengel. Photographs.

Beliaev, V. M. 1975 [1962]. Central Asian Music: Essays in the History of the Music of the Peoples of the U.S.S.R. Middleton, CT: Wesleyan University Press.
Describes the traditional music found in Kirghizia (present-day Kyrgyzstan), Kazakhstan, Turkmenia (present-day Turkmenistan), Tajikstan (or Tajikistan), and Uzbekistan, devoting a chapter to each region. Each chapter usually includes a survey specific genres of vocal and instrumental
music, a discussion of poetic forms and musical analysis (scales, rhythms, form), a brief music history, profuse endnotes, and a bibliography. Mark Slobin edited out ideological passages and provided his own bibliography at the end; he and his wife Greta translated Beliaev's essays from the Russian. Musical examples, song texts, appendix comparing Uzbek and Tajik maqams.
Browning, H., R. H. Browning, et al. 1982. Music of the Middle East, central Asia & Greece. New York, N.Y.: Alternative Museum. 26 pp.
Djumaev, A. 1993. "Power Structures, Culture Policy, and Traditional Music in Soviet Asia." Yearbook for Traditional Music 25:43-50.
State-induced censorship and control of musical production dominated Uzbekistan and Tajikistan, resulting in a strict process of selecting musical pieces and the substitution and deletion of musical texts. State critics "cleansed" music from references to religion, mysticism, the feudal ruling class, pessimism, and melancholy. The case of the Shash Maqam is examined in detail: written documents show that ideology influenced Soviet musicologists such as Uspenskii, Beliaev, and Fitrat (coercing the first
two; the last was most ideologically motivated) to leave out the text which was originally in Uzbek and Tajik. This text went against the grain of Soviet policy to neatly divide the peoples under its hegemony, vitiating a pan-Turkic identity. Figure of Shash Maqam in Arabic. References cited.
During, J. 1993. "Musique, Nation & Territoire en Asie Interieure."Yearbook for Traditional Music 25(1993):29-42.
In French. The author seems to be saying that the process of nation building and concomitant redefinition of national music genre as witnessed in Iran is similarly being reproduced in Central Asia, especially in the newly independent republics of Uzbekistan and Tajikistan, with the possible prospect of some pan-Islamic alliance in the future. Bibliography.
During, J. and S. Trebinjac. 1991. Introduction au muqam ouigour. Bloomington, Ind.: Indiana University, Research Institute for Inner Asian Studies. 58 pp.
Gunji, S. 1978. "An Acoustical Consideration of Xöömij." Musical voices of Asia. Y. Minegishi and R. Emmert, eds. pp. 135-141. Tokyo, Japan: Heibonsha Limited, Publishers.
The author analyzes the tones employed in producing xöömij and compares this Carl Stumpf's analysis of sung vowel formants. The anhemitonic pentatonic scale widely used in Mongolia can be formed from the partials derived from the fundamental sound generated by the singer. Though the
shape of the mouth cavity plays a part in isolating these partials, the author postulates that other factors, some which may be as of yet be undetermined, may contribute to the distinctive quality of xöömij.
Variation in body tension may create various types of acoustical reflecting surfaces within the body, which in turn may account for the production of tones not inherently derivable from the fundamental. References cited in the conference book bibliography under "Mongolia."
Hasumi, H. 1978. "Understanding Mongolian Music." Musical voices of Asia. Y. Minegishi and R. Emmert, eds. pp. 142-148. Tokyo, Japan: Heibonsha Limited, Publishers.
The author looks at Mongolian songs from the perspective of Japanese song. He thematizes the importance of the Mongolian natural environment, especially the centrality of the horse in poetry. The role of the morin huur is discussed in relation to this poetry. Romanized Mongolian poetry is given English translation.
Jung, A. 1989. Quellen der traditionellen Kunstmusik der Usbeken und Tadshiken Mittelasiens : Untersuchungen zur Entstehung und Entwicklung des sasmaqam. Hamburg: K.D. Wagner. 348 pp.
Karomatov, F. 1972. "On the Regional Styles of Uzbek Music." Asian Music 4(1):48-58.
General survey of 4 musical regions in Uzbekistan: Surkhandarya-Kashkadarya, Bukhara-Samarqand, Khwarizm and Ferghana-Tashkent. Author notes relative usage of various instruments, such as the dutar, tanbur, dumbra (dombra). Four music examples, with romanized and translated
texts. References cited.
Karomatov, F. M., V. A. Meskeris, et al. 1987. Mittelasien. Leipzig: VEB Deutscher Verlag fur Musik. 178 pp.
Levin, T. 1979. "Music in Modern Uzbekistan: The Convergence of Marxist Aesthetics and Central Asian Tradition." Asian Music 12(1):149-158.
Levin locates three ideological/political tenets which have shaped Uzbek traditional music: (1) a Marxist-Leninist aesthetic which grounds the expression of art in the goals of the proleteriat, (2) the recovery of a pristine "folk" music untainted by the bourgeois, and (3) the guided evolution of that music to levels of "professionalism." Under principle (2) Soviet culture policy makers have tried to base the repertoire of the Shashmaqam in separate Uzbek and Tajik traditions (a notion that Levin counters in his book The Hundred Thousand Fools of God; there he considers the Shashmaqam as "frozen music"), a move which effectively helps defuse pan-Turkic, pan-Muslim, and pan-Nationalistic sentiments. In subtle
contradiction to this, Soviet planners (and musicologists) also emphasize the common brotherhood of these separate traditions. Tenet (3) displays itself in the performance of Western classical music on traditional music and the reformulation of traditional music under Western music theory. The author compares Uzbekistan to Turkey's casting off of tradition in its quest for modernity. References cited.
Levin, T. 1993. "The Reterritorialization of Culture in the New Central Asian States: A Report from Uzbekistan." Yearbook for Traditional Music 25:51-59.
Uzbekistan is being reorganized culturally because of new political realities, most notably the demise of Soviet-led politics after 1991. The author assesses musical influences from four perspectives: Europeanization from above (the officially-endorsed production of music from the Soviet/European perspective); nativism from above (the officially-endorsed persistence of the Shash Maqam, a genre whose original audience no longer exists); nativism from below (the private performances sponsored by local patrons); and Europeanization from below (the use of Western-influenced music in weddings). References cited, diagram of influences.
Levin, T. C. 1985. "The music and tradition of the Bukharan Shashmaqam in Soviet Uzbekistan." Ph.D. dissertation, Princeton University, Princeton, New Jersey. 268 pp.
Levin, T. C. 1996. The hundred thousand fools of God : musical travels in Central Asia (and Queens, New York). Bloomington: Indiana University Press.
The author (with the help of translator and musicologist Otanazar Matyakubov) documents the music found in Uzbekistan and Tajikistan, ranging from pop-inspired and Soviet-influenced genres in Tashkent to music used in healing ceremonies found in rural areas. The term "fools of God" refers to
musicians who perform their craft based on moral and spiritual principles, and indexes the author's search for traditional music in the hinterland that has not been transformed by ideological or commercial influences. Maps, phototgraphs, annotated bibliography and discography, glossary, index, 74
minute CD of urban and rural musics within Uzbekistan.
MacKerras, Colin. 1985. "Traditional Uygur Performing Arts." Asian Music 16(1): 29-58.
Matyakubov, O. 1993. "The Traditional Musician in Modern Society: A Case Study of Turgun Alimatov's Art." Yearbook for Traditional Music 25:60-66.
Instrumentalist Turgun Alimatov (1921- ) is a well-known in Uzbekistan as a performer on the dutar, tanbur, sato and violin. His individual approach to the performance of these instruments involves music therapy, a special concern for tuning, special hand positions, a original approach to constructing maqam-s, and a total reconstruction of tradition for the sato. The structure of the Shash Maqam and the approach to using nale (ornamentation) as a distinguishing mark of artistry are mentioned. References cited.
Muhambetova, A. I. 1995. "The Traditional Musical Culture of Kazakhs in the Social context of the 20th Century." The World of Music 37(3):66-83.
The author discusses Kazakh traditional music from 1900 until perestroika (1990). Kazakh traditional music at the beginning of the 20th century reflected its pastoral heritage. Professional networks of musicians were known for their song genres (zyr, terme, zeldirme, kyu) and instrumental
(kyu) music; the authorship of many compositions were often known. Singers were skilled in poetry and in playing the dombra (two-stringed long-necked lute). Traditional music was abruptly urbanized in the 1920's and 1930's due to Stalinization. The professional traditional musician in the village lost his means to earn a living, effectively hampering the transmission of his art. The Kazakh National Orchestra (or the Kurmangazy Orchestra of Folk Instruments) (1930's) and the State Conservatory (1950's) were formed to
combine traditional music with Europeanized sensibilities. This was based on an evolutionary schema of musicology which placed polyphony at the mature level of cultural development. In the 1960's the formation of the more "traditional" Otrar Sazi orchestra signalled a general desire to return to pre-Soviet styles, instrumentation, and techniques. This article should be read in light of the then existing Soviet hegemony and its potential influence on scholarship. References cited.
Nakagawa, S. 1978. "A Study of Urtiin Duu - Its Melismatic Elements and Musical Form." Musical voices of Asia. Y. Minegishi and R. Emmert, eds. pp. 149-161. Tokyo, Japan.
The author provides a typology of melodic embellishments and an explanation of transcription symbols related to that typology. Two styles of ornamentation are recognized from an emic perspective, and are prized aesthetic features. A type of falsetto forms the peak of the song. Analysis of tone relationships shows that melodic contour takes precedence over organization of text lines. References cited in the conference book bibliography under "Mongolia."
Pegg, C. 1992. "Mongolian conceptualizations of overtone singing (xöömii)." British Journal of Ethnomusicology 1:31-54.
Introduction of xöömii singing from the perspectives of Mongolian singers in Mongolia, covering aspects of classification, training, transmission, health issues (benefits and harm), ethos and worldview (healing, shamanism, derivation from nature). Based on fieldwork from 1989-1990; brief description of music sound. Mentions well-known singers and a brief lineage of famous practitioners, and also non-Mongolian perspectives. Bibliography and discography.
Pegg, C. 1995. "Ritual, religion and magic in West Mongolian (Oirad) heroic epic performance." British Journal of Ethnomusicology 4:77-99.
The Mongolian epic song in Mongolia is textually analyzed in terms of meaning, epic hero worship, religious syncretism, revelation of folk or shamanist beliefs, and ideological distortions induced during the time of Soviet influence (1921-1990). The tovshuur (two-stringed lute) usually accompanies these songs, and its folk origin is discussed. Interviews individual epic song performers, probing the characteristics of pre-1921 textual and performance practice. Bibliography and discography.
Porter, James, ed. 1997. Folklore and Traditional Music in the Former Soviet Union and Eastern Europe. Los Angeles: Department of Ethnomusicology, UCLA.
Discusses folklore and traditional music research in the former Soviet Union and Eastern Europe, particularly the ways Communist ideology has influenced the production, dissemination and research into folk and traditional music. Authors include Izaly Zemtsovky, Alma Kunanbaeva, Barbara Kirshenblatt-Gimblett, Ankica Petrovic, Carol Silverman, Timothy Rice, with responses by Ronelle Alexander, Magda Zelinska-Ferl, Irina Gutkin, and Mark Slobin.
Sadokov, R. L. and L. A. Grenoble. 1970. The musical culture of ancient Chorasmia. Moscow: [Nauka] Publishing House. 123 pp.
Slobin, Mark. 1969. Kirgiz instrumental music. New York: Society for Asian Music. 158 pp.
Slobin, M. 1971. "Conversations in Tashkent." Asian Music 2(2):7-13.
A brief visit to Tashkent, Uzbekistan demonstrates the performance of the Shashmaqam by makomisti in Radio and Television Tashkent, the activity of the noted musicologist F. Karomatov, and the music instrument factory of a Mr. Petrosian. Traditional instruments are transformed according to models
of Western instruments, with the result that instruments like the dutar, rubab, ghichak are made into instrument families and given new sonorities and extended technical capabilities. Petrosian explains that these hybrid instruments offer the traditional musician the chance to explore both traditional and Western classical musics.
Tran, Q. H. and D. Guillou. 1978. "Original Research and Acoustical Analysis in connection with the Xöömij Style of Biphonic Singing." Musical voices of Asia. Y. Minegishi and R. Emmert, eds. pp. 162-175. Tokyo, Japan: Heibonsha Limited, Publishers.
The author provides acoustic and physiological background for biphonic singing in order that the reader may try this themself. Sonograms demonstrate the difference in formant distribution between normal and biphonic singing. References cited in the conference book bibliography under "Mongolia."

Discography
Alimatov, T. 1995. Turgun Alimatov. Paris: Ocora/Radio France. One sound disc (76 min.), digital, stereo, 4 3/4 in. C 560086 Ocora.
Badakhshan : mystical poetry and songs from the Pamir Mountains. 1994.
Leiden, Netherlands: Pan Records. One sound disc (74 min.), digital, 4 ¾ in. PAN 2024CD Pan Records.
Bernager, O. 1977. Traditions liturgiques des communautes juives : [vol.] 1 : les jours du Kippour. Paris: Ocora. One sound disc, analog, 33 1/3 rpm, stereo, 12 in. 558.529 Ocora.
Bernager, O. 1983. Les Jours de Kippour. Paris: Ocora. One sound disc, analog, 33 1/3 rpm, stereo, 12 in. 558.529 Ocora.
Bukhara : musical crossroads of Asia. 1991. Washington, DC; Cambridge, MA.: Smithsonian Folkways. One sound disc, digital, 4 3/4 in. CD SF 40050 Smithsonian Folkways.
Bu Dunya--This world: Songs and melodies of the Uighurs. 1995. Leiden: Pan. One sound disc, digital CD, 4 3/4 in. Pan 2027CD.
Central Asia in Forest Hills, N.Y. : music of the Bukharan Jewish ensemble Shashmaqam. 1991. Washington, DC; Cambridge, MA: Smithsonian Folkways. One sound disc, digital, stereo, 4 3/4 in. CD SF 40054 Smithsonian. Map, lyrics, instrument descriptions (tanbur, tar, doire, clarinet, davuul,
accordion), musician bigraphies.
Chants de l'orient sovietique. 1960. Paris: Le Chant du Monde. One sound disc, 33 1/3 rpm, 10 in. LD-S 4224 Le Chant du Monde. No notes available other than the titles in French. Includes Kazakh and Kirghiz music.
Contay, M. 1995. Secret museum of mankind. Vol. II. Ethnic music classics: 1925-48. Newton, NJ: Yazoo. 1 sound disc, digital, 4 3/4 in. + 1 booklet (15 p.). 7005 Yazoo. One song ("Pan Koylek," attributed to 18th century composer Mukhit) accompanied by dombra.
Desjacques, A. 1985. Mongolie : chants kazakhs et tradition epique de l'ouest. Paris: Ocora. One sound disc, analog, 33 1/3 rpm, stereo, 12 in. 558 660 Ocora.
Desjacques, A. 1993. Mongolie, chants kazakh et tradition epique de l'Ouest. Paris: Ocora . One sound disc (64 min.), digital, stereo, 4 ¾ in. C 580051 Ocora.
Dupaigne, B. 1974. Musiques classiques et populaires d'Afghanistan. Paris: Anthologie de la musique des peuples. One sound disc, 33 1/3 rpm, stereo, 12 in. AMP 2901 Anthologie de la musique des peuples.
Dupaigne, Bernard. [197?]. Musiques classiques et populaires d'Afghanistan. Paris : Anthologie de la musique des peuples. One sound disc, 33 1/3 rpm, stereo, 12 in. Anthologie de la musique des peuples: AMP 2901. Turkmen, Tadjik, Uzbek vocal and instrumental music. Photos.
During, J. 1993. Tajik music of Badakhshan. Ivry-sur-Seine: Auvidis. One sound disc (79 min.), digital, 4 3/4 in. D 8212 Auvidis.
During, J. and T. C. Levin. 1993. Asie centrale : traditions classiques. Paris: Ocora, Radio France. Two sound discs (147 min.), digital, stereo, 4 3/4 in. C 560035-36 Ocora. Notes by Ted Levin and Jean During. Covers music found in Uzbekistan and Tajikistan: musical features, Soviet
influence, musicians, instruments (tanbur, sato, setar, dotar, ghijak, rabab, nay, surnay, dayera), songs. In French, English, German. Photographs, map, transliterated and translated lyrics, example of artwork
showing musicians.
East of the Urals : folk music of Siberia and Central Asia. 1959. New York: Monitor. One sound disc, 33 1/3 rpm. microgroove. MF 316 Monitor. Photos of musicians, dancers; notes describing Central Asia and Siberia, music of Central Asia (including music of Kazakhstan and Turkmenistan).
Folk music of the Middle East : Azerbaijan, Armenia, Uzbek, Bukhara. 1950. New York: Folkways Records. 4 sound discs : analog, 78 rpm ; 10 in. EFL 1416 (01477--01480) Folkways: EFL 1416 Folkways, EFL 01477 Folkways; EFL 01478 Folkways; EFL 01479 Folkways; EFL 01480 Folkways.
Hamayon, Roberte. 1972. Chants mongols et bouriates. Paris: Vogue. 1 sound disc, 33 1/3 rpm, 12 in. Vogue: LDM 30138. Notes in French and English. Describes nomadic life and individual songs; includes romanized lyrics translated into French and English.. Map, painting of morin huur player,
sonagram, photos of nomadic life and musicians.
Hamidov, A., S. Razzakov, et al. 1997. Ouzbekistan : l'art du dotar : Hamidov, Khodaverdiev, Razzaqov. Paris: Ocora. One sound disc (73 min.), digital, stereo, 4 3/4 in. C 560111 Ocora.
Instrumental music of the Uighurs. 1991. Tokyo: King Record Co. One sound disc, digital, stereo, 4 3/4 in. KICC 5138 King Record Co. Brief notes in Japanese and English about Uighur music found in Xinjiang. Instruments include balaman (double-reed wind instrument), dutar (two-stringed lute), rewap (lute), ajek (spike fiddle), and dap (frame drum). Three examples demonstrating mukam (Uighur modes). Maps, photographs.
Jenkins, Jean L. 1977. Mongolia vol. 1: vocal music. London: Tangent Records. One sound disc, 33 1/3 rpm, stereo, 12 in. Tangent: TGS 126. Notes describe background of Mongolia, individual songs, and vocal music. Examples of vertical Mongolian script, maps, example of Mongol art.
Jenkins, Jean L. 1977. Mongolia vol. 2: instrumental music. London: Tangent Records. One sound disc, 33 1/3 rpm, stereo, 12 in. Tangent: TGS 127. Notes provide background of Mongolia, instrumental music, instruments (morinxuur, limbe, hoxuur, shanz, yatga, yenchin), long song. Maps,
decorative morin xuur, vertical Mongolian script.
Les chants et danses des Republiques sovietiques. [198?]. France: Chant du Monde. Chant du Monde: LDX 74494--LDX 74495. Notes by Michel-R. Hofmann in French, mentioning geographic information, instruments and brief background of the music. Covers all former Soviet Republics, including
Uzbekistan, Kazakhstan, Tajikistan, Turmenistan, and Kyrgyzstan. Includes color illustrations of dancers in indigenous costumes.
Lewiston, David. 1974. Music in the Karakorams of central Asia. N.p.: Nonesuch. Nonesuch H 72061. Photos, notes describing area, people, music, instruments of northern Pakistan.
Lubtchansky, J. C. [1957?]. Afghanistan. Paris: Contrepoint. 1 sound disc, 33 1/3 rpm, 12 in. Contrepoint: M.C. 20.147. Notes in French. Describes instrumental music and vocal songs of the Uzbeks, Turkmens, Kurds, and Pashtuns.
Music in a new world : performance programs. 1982. Washington, D.C.: National Public Radio. 7 sound cassettes (ca. 390 min.) : 1 7/8 ips, 4 track, mono.
Music of Central Asia, Tadjikistan. 1992. Tokyo: King Records, Seven Seas. One sound disc (57 min.), digital, stereo, 4 3/4 in. KICC 5167 King.
Music of Central Asia, Uzbekistan [sound recording]. 1991. Toyko: King Records. One sound disc (46 min., 1 sec.), digital, stereo, 4 3/4 in. KICC 5108 King.
Music of Kazakhstan. 1992. Tokyo: King Records. . Sound disc (58 min.), digital, stereo, 4 3/4 in. King Records: KICC 5166. Brief notes about Kazakh music in Japanese and English; pictures of musicians, dombra , and kobyz.
Music of the Russian Middle East. 1951. Washington, D.C.: Folkways Records. One disc, 12 in. 33 1/3 rpm. microgroove. Folkways Records P 416. Includes music of Uzbekistan.
Music of the Russian Middle East. Washington, D.C.: Folkways Records. 1951. One sound disc, 33 1/3 rpm. microgroove. P 416 Folkways Records.
Musik der Kirghisen. 1978. Graz : Adevaphon. One disc (45 min.), 33 1/3 rpm, 12 in. Adevaphon: 002. Recorded 1971-1973 by R. dor and C. M. Naumann. Picture of musician playing stringed instrument; notes and translated lyrics in German; notes are brief and general, dealing with
Kirghiz music found in Afghanistan.
Musique sur les routes de la soie. 1992. [France]: Auvidis Ethnic. One sound disc (69 min.), digital, 4 3/4 in. B 6776 Auvidis.
Nabiev, J. 1997. Badakhshan : mystical poetry and songs from the Pamir Mountains. Leiden, Netherlands: Pan Records. 1 sound disc (74 min.), digital, 43/4 in. PAN 2024CD Pan Records.
Nabiev, J. 1997. Tadjikistan : Maqam Nava. Paris: Ocora. One sound disc (71 min.), digital, stereo, 4 3/4 in. C 560102 Ocora.
Navo makomi, [Vol. 1] : Uzbek khalk kuilari. 1960. Tashkent: Melodiya.
One sound disc, 33 1/3 rpm, 12 in. D-011215-16 Melodiya.
Navo makomi, [Vol. 2] : Uzbekskie narodnye melodii. 1960. Tashkent: Melodiya. One sound disc, 33 1/3 rpm ; 12 in. D-011217-18 Melodiya. Six pieces, transliterated Russian. Instrumental pieces (saz, doira, tare, koshnai, khorezmskii saz).
Navo makomi, [Vol. 3] : Uzbek khalk kuilari. 1960. Tashkent: Melodiya. One sound disc, 33 1/3 rpm ; 12 in. D-011219-20 Melodiya.
Roy, C. 1955. Clefs pour la Chine. Paris: Le Chant du Monde. Three sound discs, 33 1/3 rpm, 7 in. LDY 4039 Le Chant du Monde, LDY 4040 Le Chant du Monde, LDY 4041 Le Chant du Monde. Notes in French; includes Uighur, Kazakh, and Mongol music found in various parts of China.
Sakata, Hiromi Lorraine and Tom Sakata. 1972. Folk music of Afghanistan. N.p: Lyrichord. Lyrichord LLST 7230-7231. Recorded by Tom and Lorraine Sakata between August 1966-July 1967. Includes romanized lyrics and translations of Kazakh and Uzbek songs.
Signell, K. L. 1982. Soviet central Asian music; Turkish music. Washington, D. C.: National Public Radio. 1 sound cassette. PP-820110.05/13-C, PP-820110.06/13-C National Public Radio.
Slobin, Mark. An Anthology of the World's Music. A Musical Anthology of the Orient. The Music of Afghanistan. Music of the Uzbeks. New York: Anthology Record and Tape Corporation. Two disks, analog, 33 1/3 rpm, 12 in. AST 4001. Notes give information on historical background, way of
life, musical scene, instruments, individual pieces. Map, photos of instruments (dambura, doira, ghitchak, zang, dutar)/musicians/instrument makers).
Slobin, Mark. An Anthology of the World's Music. A Musical Anthology of the Orient. The Music of Afghanistan. Music of the Pashtoons, Heratis and Kazakhs. New York: Anthology Record and Tape Corporation. Two disks, analog, 33 1/3 rpm, 12 in. AST 4004. Notes provide background of
Pashtoons, Heratis and Kazakhs and their music. Map, transcriptions, lyrics, photos of istruments (tanbur, dumbura, ghtichak, dutar).
Toureille, P. 1990. Turkestan chinois : Xinjiang : musiques ouigoures. Paris, Ocora. Two sound discs, digital, stereo, 4 3/4 in. C 559092—C 559093 Ocora
Turkestan Chinois/Xinjiang: Musiques Ouïgoures. 1990. Paris: Ocora, Radio France. Two sound discs, digital CD, 4 3/4 in. Ocora C559092-93, 1990.
Turkmen epic singing : Koroglu = Chant epique turkmene : Gorogly. 1994. Gentilly, France: Auvidis/UNESCO. One sound disc (61 min.), digital, 4 ¾ in. D 8213 Auvidis.
Turkmenistan : la musique des bakhshy (the music of the bakhshy). 1991. Lausanne: VDE-Gallo. 1 sound disc (70 min., 35 sec.), digital, 4 3/4 in. VDE CD-651 VDE Gallo. Notes in French and English. Extensively describes the music of the bakhshy (singer, musician or story teller): five main
vocal styles and three instruments used (dutar, gidjak, and garghy tuyduk [flute]). Photographs of musicians.
Ouzbekistan : musique du Khorezm. 1996. Gentilly: France: Auvidis/UNESCO. One sound disc (66 min.), digital, 4 3/4 in. D 8269 Auvidis.
Uzbekskie narodnye pesnia i melodii. 1960. Moscow: Vesoiuznaia studiia gramzapisi. One sound disc : 33 1/3 rpm ; 10 in. 33D-11853--33D-11854 Vesoiuznaiia studiia.
Vargyas, Lajos. 1967. Mongol nepzene. Budapest: Hungaroton. Two sound discs, 33 1/3 rpm, mono., 12 in. Hungaroton: LPX 18013-14. Photos of instruments (marinhur-s, lute), artwork, people in traditional clothing. Notes describe long song and overtone singing, as well as instrumental music, all recorded in Ulaanbaatar. Darhat, Dorbot and mostly Khalka songs.
Vocal music of the Uighurs. 1991. Tokyo: Seven Seas. One sound disc (44 min.), digital, 4 3/4 in. KICC 5139 Seven Seas.
[Music of Tajik S.S.R.]. 1960. Moscow: Vesoiuznaia studiia gramzapisi. One sound disc : 33 1/3 rpm ; 10 in. 33D-10207-33-D10208 Vesoiuznaia studiia.

Videography

Ichikawa, K., K. Nakagawa, et al. 1988. The JVC video anthology of world music and dance. Soviet Union IV: Kazakh, Uzbek, Turkmen, Tajik, Kirgiz,
Kalmyk, Mari, Bashkir, Siberia. Tokyo, JVC, Victor Company of Japan. 1videocassette (54 min.).
Ichikawa, K., K. Nakagawa, et al. 1990. The JVC video anthology of world music and dance. China III: Xinjiang Uygur Autonomous Region, Mongolia. Tokyo: JVC, Victor Company of Japan. 1 videocassette (50 min.).

The 100,000 Fools of God - Music re Central Asia

The Musical Nomad (a delightful diary of some folks taking a trip throughout Central Asia to meet traditional musicians and learn from them, etc.)
(for the whole article and great pictures) change each URL to a different date (ie. where it says day01, or day 02, you change it for every day till you get to the end, which is day29)