BOPAO: HET. 1OXxVI) Hoon: Tyan wexayaposvod xonpepenune B37 T 2 Kes, aceon 1096 Matcon BA iceop Conte Hrwemanon 1992 Hasweoumoe Mf Hapoxue nec soe Trp, cneaoene. Hundexanvon 1980: Hacwedsenoe MC K xapinepner anos reap apo nee Mauna conpenennocrs, Koa Monuaserere pater, Kaan Cosson 195: Cons C. Tpumronas oseea varafGeno; wouno nu ata Haron Kas! Xtzuon A 1989: Xanucos 1 Taapce wap er meant Kea. XamironH. 1981: aswace 1 Setneenne n eursaenecea rei "apexora pon. Mt “Tui 1998" Tare: Suuroneai. Kasam “CULTURAL LAYERS» OF TRADITIONAL MUSICAL CONSCIOUSNESS (AN ISLAM-CHRISTIAN BORDERLAND IN THE MIDDLE VOLGA AREA AND TATAR SONG FOLKLOI by N.AP-meeva (Sankt-Petersburg) ‘The Volgs-Kama borderlands include the Islamic Cristian and, in (Christian-Pagan cultural zones. Music of ora tation is an anivopolog feature ofthe cultures ofboth the Muslim Tatars ad the so-aled Kr ‘ens — Christianized Tatars. An analysis of Tatar music faker wil Volga-Kama region allows today already 10 mark ut the singing of ty {types — Turkic (in a regional version), Indo-European (ether Ea Lg ‘or Bali) and Finno-Ugrian In the couse of further investigation one would hope, sil just a 'o find out in archaic music culture ofthe region as « whole and of te ‘ashen Tatars in particular aces of some of oe numerous ancestor sac ‘he Magyar, the Bulghars. the Huns, and oer. Intro, this would Sep towards the identification of the Kriashen culture and. too sa ‘evidence ofthe Volga-Taarandallsegional cltral genes Inmemorian D.N. MacKenzie STHOMUM «XAOHAn BABECTE* A.A. Anbapuyan (Came-tlerep6ype) Post eweN typa, mnt TyHPla, 8 AneeTe He annaerex rao Maine enol Kak MpeaeTasaaetes HeKoropunr neeaeadnaTeraM, Taxoe pea {ramiuie ciownia0e, woMOEHO, Noa RIDE HOSONEPEHACKOM ep. {in apttexoro ones lllaxsaen » peak Onpaoyen, te ocwowsuaty hpormneaN npanten vooSpaaaores typanitr n Type. 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