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Half the range of the piano keyboard At last a serious critical examination of the utterly unique vocalist celebrated for her "four-octave voice," Yma Sumac A confounding, sometimes heartbreaking, mixture of absurd show-biz hype, stunning virtuosity, and sometimes ravishing artistry, Yma Sumac was a firmly established recording artist of the folk music of her native Peru when she came to America to be "discovered." And discovered she was-by the publicity department of Capitol Records and the "Exotica" pop music maestro Les Baxter. From there her story becomes ever more tangled and weird-and deeply interesting. Yma herself is an amazingly contradictory mix. Nicholas Limansky (a formally trained professional singer) is able to demonstrate that she was startlingly sophisticated technically even though almost entirely self-taught. What is perhaps even more astonishing than the celebrated 4-octave range of her voice-and its effortless clarity and sweetness-was the nearly incredible longevity-fully 4 decades -of her ability to command it. With the enthusiastic collaboration of her quixotic, charming, slightly rascally husband, she went along with the corruption of her artistic identity by the gleefully amoral record-company publicists, creators of her public persona-Inca Princess (sometimes Priestess )-from a primitive mountain tribe (or, sometimes, descended from a line of kings that was said to go back several hundred years before there were any Incas) Imperious as any diva with