(5)   The chromatic elements present in the doine and other musical categories taken to be archaic, particularly the extended seconds ranging between the 3^rd and 4^th levels of the minor modes ? both fluctuating and intonationally uncertain ? have a different origin from the similar elements in the (hypothetically) south-eastern dances. My belief is that the former are subsumed to a sound system prior to the Turks? coming to the Balkan Peninsula.

(6)   Euterpi, Pandora and Armonia, published in 1830 and, respectively, 1843 and 1848. The collections are mentioned by George Breazul in his study, Muzica românească de azi, 1941, p. 252.

(7)   Incidentally, Vulpian includes in his collection several of the diatonic melodies of the Rhapsodies ? yet another confirmation of his pro-European tendency. (See Voicana, 1971, p. 45.)

(8)    Silvia Andriescu, a folklorist and choreographer, who was present at the debate, testifies to the same.

(9)   At the time, the peasant lăutari were still rare as compared to the size of the rural population. See Rădulescu (1984).

(10)           The dwellers of the Romanian Banat did not need a visa to cross the border to Yugoslavia. A welcome facility for the fiddlers, who were hired to play at weddings and parties on the other side of the western border whenever there was need. The occasions were numerous, because the music-players of Romania had a good reputation and their music was to the liking of the Serbs.

(11)           This is the kind of music Simon Brighton calls ? taking over a usual Serb phrase ? novo-componovana narodna muzika (Brighton, 1999, p. 273).

(12)           In the Balkans, the Gypsies are everywhere and nowhere in particular. Those who attribute the mixed music to them manage thus to avoid ?locating? it in a precise state, geographical area, or ethnic group. As professional musicians ? a status they enjoy in all Balkan countries ? the Gypsies are also the main practitioners of the mixed music, a further confirmation of their identification with it.

(13)           For further details, see the studies included in the anthology Returning Culture, Slobin (ed.), 1996.

(14)           I cannot tell whether the ?Gypsy elements? are more significant now than they used to be one or two hundred years ago. The sure thing is that, generally speaking at least, people are now more prepared to notice and to identify them as such. The problem is that neither the Gypsies nor the peoples or ethnic groups that host them can identify beyond doubt the specifically Gypsy tunes, elements and musical features.