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Music (9)

Music by numbers

Posted by Skye Løfvander on September 21, 2011 at 17:30

Diagram: Music by numbers
 

Music incarnates through numbers as frequency and wawelength (= time & space) proportions of the harmonic series.

Until european renaissance most tonal system where established through combination of the first tree primes 2, 3 and 5 which express themselves as the music of the harmonic series as octave (proportion 1:2, one-to-two), perfect fifth (2:3) and just major third (4:5).

Initially this creation happens within the frame of the octave 30:60 (2x3x5 : 2x2x3x5).

The interval names of the tonal systems with frequency ratios of the form 2nx3nx5n : 2nx3nx5n

may be found on this link! 

By the way the product of the following tree primes 7, 11 and 13 is 1,001!!

 

At the illustration the neighbouring elements placed along the axises are octaves, proportion 1:2. For example 1:2:4:.. (octaves of the fundamental/ primary tone), 3:6:12:... (octaves of perfect fifth) and 5:10:20:... (octaves of just major third).

 

Lesser diesis is the difference between three successive just major thirds (5/4)3 (= 125/64 = 1.953125) and the octave (2:1).

 

The syntonic comma is the difference between just major third, 80 (=24 x 5) and the pythagorean (generated by perfect fifths) major third, 34.

 

The values of the pythagorean comma and greater diesis, 73:74 and 27:28 respectively, are approximations, because their constituent values are situated further out in the branches of the spiral. The pythagorean comma is the difference between 12 successive perfect fifths, (3/2)12 : 27 (= 129.746338) and 7 octaves, 27 (= 128).

The greater diesis is the difference between four successive just minor thirds  (6/5)4 (=1,296 : 625 = 2.0736) and the octave, 2:1.

 

... Or is it really the other way round: Numbers incarnating through music?

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Fake Afro-mongolian Fusion

Posted by Gisbert Schürig on May 5, 2010 at 23:32
I´m currently working on a combination of overtone singing and central african polyphony. I discovered Pygmy music on a CD my brother gave me and where it is combined with works of György Ligeti and Steve Reich. What fascinates me is the high complexity of rythm - the voices seem so free, so independend, still they are connected. And secondly the collective nature of this music, the co-existence of many interdependent(does this word exist?) voices.

I bought "African Polyphony & Polyrythm" by Simha Arom and apply the principles he describes - well, those principles I consider interesting - to my musical background.
At the moment I am recording demo-versions of my ideas of this fusion in Ableton live and I´m rehearsing with percussion player Peter Halves. The next step will be to bring in drummer Florian Dietz (those who know my youtube videos have seen him play) - to emphasize rythmic ambiguity and the tension this builds.

This is the starting point to build an ensemble that is capable to bring this music to life on stage and make a real show of it - including costumes, electronics and projected interactive video - and I´m quiet enthusiastic about this new project.
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CD Release: "LOOPING jaw harp orchestra – Elephant Road"

Posted by LOOPING jaw harp orchestra on September 3, 2009 at 12:30
All but toothless
A virtual jaw harp orchestra challenges the dominance of guitars. Here's to musical diversity!

Starting from the city jungle of Vienna, the LOOPING jaw harp orchestra has set out to discover unexplored musical regions. Elephant Road, off the beaten track, directly leads to the habitats of rare musical instruments. Three dozen of jaw harps and percussion are a good substrate on which steel pans, saxophones, marimba, trumpets and many other instruments may flourish. Powerful and vigorous, the LOOPING jaw harp orchestra still does not neglect the tender young leaves and bizarre creatures in the jungle of music.

Release date: Oct. 2009. Enjoy some samples here: LOOPING.

_________

Maultrommeln mit Biss!
Ein virtuelles Maultrommel-Orchester zeigt dem Gitarren-Monopol die Zähne. Es lebe die musikalische Abwechslung!

Mitten aus dem Großstadtdschungel ist das LOOPING jaw harp orchestra aufgebrochen, um unerforschte musikalische Biotope zu entdecken. Die Elephant Road führt fernab der ausgetretenen Trampelpfade geradewegs in die Lebensräume seltener Musikinstrumente. Drei Dutzend Maultrommeln (jaw harps) und Percussion bilden den Untergrund. Darauf gedeihen Steeldrums, Saxophone, Marimba, Trompete und zahlreiche andere Instrumente ganz prächtig. Das LOOPING jaw harp orchestra gibt kräftig Stoff, erforscht aber auch die zarten und die skurrilen Pflänzlein des Musikdschungels.

Ab 2.10.2009 im Handel, Hörproben unter LOOPING.

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R.I.P.

A. N. Aksenov : TUVIN FOLK MUSIC

Posted by Tran Quang Hai on August 28, 2009 at 23:50
TUVIN FOLK MUSICByA. N. AksenovEditor's Note. The following consists of excerpts from A. N. Aksenov's Tuvinskaia narodnaia muzyka (Moscow, 1964), to date the only book de­voted in a study of a single Siberian music culture.Aksenov (1909‑62) was initially a composer. He graduated from Moscow Conservatory In 1931, became a member of the Union of Soviet Composers the following year and remained in Moscow until 1943. During that war year he was sent to the city of Kizil, centre of the Tuvin People's Republic, later to become the Tuvin Autonomous Region of the Russian Federated Soviet Socialist Republic, largest administrative unit of the USSR. In Tuvin country Aksenov collected a large body of folk music, and when he returned to Moscow in 1944 he began to study ethnomusicology seriously, continuing his research on Tuvin music until his death. E. Gippius, Aksenov's advisor. In his Introduction to Aksenov's post­humous book, (p. 11) cites tuyinskaia narodnaia muzyka as being "useful and important for musicologists and musicians as well as for ethnographers, historians and folklorists".The sections included here are excerpted from two sections of the book: first, a general discussion of Tuvin folksong and then a presenta­tion of the four styles of the extraordinary ‑Tuvin manner of throat‑ singing, i.e. a way of one man's singing two parts simultaneously.The Tuvins, who speak a Turkic language, joined the USSR In 1944 dissolving the Tuvin Peoples' Republic begun in 1921. The 1959 census indicated a population of ca. 100,000 Tuvins in the USSR; they also live in adjacent Mongolia.Tuvin folk songs are primarily performed on holidays, during young people's promenades and while nomadizing or on excursions into the steppe. On holidays any songs are sung. No observer of Tuvin musical folklore has remarked on songs assigned to specific holidays or on special wedding or funeral songs, and I have not succeeded in finding, them either.One of the greatest Tuvin holidays is New Year’s (shagai) celebrated on the night of January 22nd. In addition New Year’s and domestic holidays each region (Khoshun) marked its own, local festivals. Noted singers, storytellers and instrumentalists gathered in the Khoshun centres for these holidays….At the khoshun festivities the noions (apparently clan, elders or chiefs‑‑MS) organized singing contests, sometimes lasting all day. The performers chose their own songs. The winner or best singer was served liquor (arak) and was given the title kha (noions singer). As a mark of acquiring this title a special attachment of coloured stone (or glass) was affixed to the singer's hat, after which the kha took an oath of allegiance to the noion. Among the kha's duties was the singing of panegyric songs which accompanied the serving of arak to the noion. The kha's obligations also included fulfilling small chores for the noion. If the kha appeared at fault in some way or sang little and badly, the noion took away his title, struck him in the face with a shaaga (a leather belt for beating on the cheeks) and drove him out. The singer them became a commoner again.Instrumentalists also competed at the noion's contests. They travelled from village to village earning their keep this way. Instrumentalists principally played song melodies, varied in virtuoso style. A special genre of Tuvin instrumental music consists of programmatic pieces. Contemporary instrumentalists only know two of these: "Oskus‑kasa" ("The Orphan Goose”) and "Buga, shari" (Oxen, Bullocks"). Both pieces are played only on the igil (a fiddle) and only by the most talented instrumentalists: these performers are highly esteemed.Not only instrumentalists, but also singers of tales (tool, toolchi; “tale”, “reciter of tales") travelled from settlement (aal) to settlement. Like the instrumentalists, the toolchis were ordinary folk. From time to time they dropped their households and moved off to tell tales in nearby settlements, usually within the boundaries of a small region. Their arrival was also associated with various festivities. The people invited the toolchi to their tents, fed them abundantly and gave them gifts (furs etc.) Crowds gathered in the tent in which the toolchi stayed. The spectators listened to the tales with unabated attentiveness for several consecutive days with breaks for meals. One tale lasted two to three days.Some genres of Tuvin tales (heroic and some fairytales) are recited melodically, with a recitative tune and rhythmic prose text. These are often accompanied by the chadagan, a stringed Instrument (zither‑‑MS), which either follows the melody of the vocal recitation (continuously or sporadically) or plays Instrumental interludes periodically interrupting the vocal recitation. Other genres of Tuvin tales (domestic, animal stories and some fairytales) are not performed melodically, but are simply narrated.The heroic tale "Dash‑khuren a' ttig Tanaa‑Kherel" . ..is built on a stepwise descending melody with phrases built on fourths. Each new text phrase of the tale begins with the high melodic pitches, and then descends gradually in the range of a twelfth, rising at the end of the phrase to the higher pitches, from which the next phrase begins. Along with such melodically developed forms of recitation one also finds Tuvin heroic tales built not on melodies but rather on repetitions of short tunes of three or four pitches in a narrow range.Games and competitive sports are an unchanging feature of Tuvin holidays, both old and contemporary. These include khuresh (wrestling matches) and a't khooleer (horsemanship contests), accompanied by special musical recitations. Wrestling (in which any devices but blows are allowed) is very popular among all strata of the population, irrespective of social status. The number of contestants is not restricted, usually consisting of 8, 16, 32, 64 or 128 wrestlers. The wrestling match lasts many hours, to the unabated, tense attention of spectators. Wrestlers appear with seconds (salikchi) dressed in bright national cloaks, with six to eight salikchi for 30 to 40 wrestlers.The wrestlers are dressed in costumes of rawhide or other material (ringed with rawhide to protect the hands and body from injury. The costume consists of shorts and a short jacket with long sleeves barely covering the back just below the shoulder‑blades. The jacket is fastened by a rawhide thong so that the opponent can't jerk it. The legs are covered with Leather maimaks (embroidered boots with turned‑down sharp‑ended socks). Before the beginning of the match two equal groups of wrestlers gradually approach from different corners with a particular dance like gait depicting “the flight of the eagle", the eagle being the symbol of strength and agility. They caper in a zigzag manner from foot to foot and smoothly clap their hands to the rhythm of the jumps to imitate the rustle of wings. Approaching each other, both groups return to opposite corners of the field with the same dance like gait.The salikchis approach each group taking alternate wrestlers by the hand and leading them to the centre of the field. Next, both salikchis come forth and simultaneously intone the traditional “call” in the form of an improvised melodic recitation, often concluded by a speech. In the “call” the salikchis praise the strength and agility of their wrestlers and their former victories.Our strong man has com, bring out his opponent!This outstandingly famous strongman has taken part in 64 matches!Bring out our strongman’s opponent! There he's come!Be careful, be careful! This is an experienced strongman!He has taken part in 64 matches'. He is as strong as a tiger and a lion!Be careful, be careful, grab hold!This singing appearance of the salikchi is limited only to one episode of the match: the appearance of the wrestler in the arena. Each salikchi improvises melodies for this recitation in his own way. They vary considerably in melodic style and cannot be assigned to one specific type….. The wrestler's success depends considerably on the salikhchi. He encourages his wrestler with words and gestures, ridicules the opponent, amuses the audience and between jokes warns his wrestler of the intentions and tricks of his opponent, whom He observes.… No less popular is another Tuvin sport: horse‑racing ... several neighbouring khoshuns compete in horseracing, in which 10 to 100 riders take part... and up to 200 to 300 in large races. The ride to the gate is accompanied by the riders' improvised song in recitatory style. In these songs the riders praise the endurance, strength and other qualities of their horses just as the ....salikchis praised ... the wrestlers. However, of late the riders arriving at the gate most often sing recitatory melodies without words.. . The voice of the riders, resounding far into the steppe mixes into a long multi‑voiced uninterrupted roar.... After the winners are decided. … a ceremonial procession of the participants is begun. At this time a singer comes forth, holding a saucer full of arak in upraised palms, covered with a bright silk kerchief. The singer tenders the cup of arak to the winning rider, and in a solemn song, praises the winning horse;Its eyes are like two saucers of arak.lts' breath Is like mist in the valley,Its gait is like a strong wind in the steppe, etcAlong with horseracing and wrestling, marksmanship must also be included among sports beloved of the Tuvins. No special songs were devoted to these games, but the spectators often cheered on the contestants with shouts or songs of the kozliamik genre (a song with refrain‑‑MS) with Improvised words.Until recently the Tuvins had no folk dances outside of the panto­mimic imitation of the "eagle's flight" at the entrance of wrestlers.Khoi alzir songs are a special section of the Tuvin folksong tradi­tion. These are melodic recitations accompanying the pastoral ceremony of transferring baby sheep, goats, cows and horses to another mother when their original mother does not have milk, refuses to nurse its child or has died. They led the young to its new mother, placed them next to each other and turned to both with the words of traditional animal‑goading noises (e.g. "tiro. tiro, tirogat" for sheep, "chu, chu, chu" for goats and "oog,,oog, oog" for cows), sung to melodies In recitatory style. The tunes of these melodic recitations are close to each other and are strikingly close to Tuvin lullabies (urug opeileer) with melodies of analogous recitatory style. For rocking children such melodies are sung to a few words. "opei, opei ("rock‑a‑bye"), "udui ber, olgum" (“sleep, my son"). or "sariim" (“yellow one, " an endearing term). The Tuvins say that from a far one cannot distinguish whether one is rocking a baby or accustoming a calf, kid or lamb to a new mother…It is characteristic that in the past Tuvin shamans turned to the same type of melodic recitation. The tunes of their séances (according to the faithful account of Kok‑ool) wore similar both to the tunes of lullabies and to the melodic recitation accompanying the domestication of animals... (EX . 1)The Tuvins divide folksong into two groups of genres: irlar (“songs”) and kozhamik (songs with refrains). Irlar is the plural of ir, “song”, from the verb irlaar, "to sing. " The word kozhamik stems from the verb kozhar (“to unite," connect”, “pair off “). According to the Tuvin poet S. Piurbiu, this term is explained by the pairing of strophes of poetic text, character­istic of the kozhamik, especially for one if its typical forms a dialogue of two singers. To the irlar genre belong slow melodic lyric songs with poetic texts mainly of a contemplative nature (about the homeland, pastoralism or hunting. love and separation, complaint about one's hard lot in the old days), and also historical songs (e.g. about the uprising of the “60 heroes") and a large part of contemporary folk songs. To the kozhamik genre belong fast melodic lyric songs often with refrains (kozhumak) with largely improvised texts. The themes of love and youth are most characteristic for the song texts of the kozhamik genre, since songs of this type are mainly sung by young people during holiday promenades…..Songs of both genres are traditionally sung solo, but on holidays and during young people's promenades they may be sung by a chorus in unison. Heterophonic departures from unison are looked down upon by the Tuvins as being the result of untalented performance. They use unison singing as a means of learning new songs.The guttural or throat song (Khomei) is a special vocal genre of Tuvin folk music. This is the simultaneous performance by one singer of a held pitch in the lower register and a melody (composed of overtones) in the higher register. Throat singing is known not only to the Tuvins, but also to several neighbouring peoples (Mongols, Oirats, Khakass, Gorno ­Altais and Bashkirs). However, among the Tuvins it has been preserved in the most developed and widespread form, in that there is not one but four stylistic varieties of throat‑singing. It appears that Tuva is the, centre of the Turco‑Mongol culture of throat singing…The solo ostinato two‑voice throat (or guttural) singing of the Turkic peoples has aroused the amazement of all observers. It has seemed incomprehensible and inexplicable to everyone. “It is unnatural for a human being to carry two voices simultaneously”, wrote L. Lebedinskii apropos of the Bashkir uzliau throat singing. “The timbres themselves of uzliau are unnatural, as is the ostinato lower organ point, as well as the sounds of the upper register; the necessity of such lengthy breath ‑holding is unnatural too”. (Lebedinskii 1948.50‑51). The unusual timbre of throat singing and the enigmatic character of its technique has been characterized by observers as "forest wildness" (Rybakov 1897.271), or they have seen in it traces of shamanism. (Lebedinskii 1948:51).The Tuvins make no connection between throat singing and shamanism. They view it in purely every‑day aesthetic terms and approximate it to the purely everyday act of playing on the khomus (Jew’s harp) to which the art of throat singing is strikingly close both in musical style and in the character of the sound. In fact the melodic style of one genre of Tuvan throat singing (kargiraa) is reminiscent of pieces played on the iash khomus (wooden Jew's‑harp‑‑MS). The Tuvins' converging of the art of throat singing and the art of Jew's‑harp play is certainly not coincidental. Both these types of Tuvin music arts based on a common technique of producing melodic sounds; they differ only in the technique of producing the ostinato basis of the melody (organ‑point). ..In throat singing the performer sings only a single low fundamental rich in upper partials; the partials, forming a melody, are selected from this unceasing sound through changes in the width of the mouth cavity just as in playing on the Jew's‑harp. However, the melodic possibilities of throat singing are incomparably richer than those of the Jew's‑harp. On the khomus one can produce a fundamental of only one unchanging pitch and timbre, and in throat singing the singer can produce (with the vocal chords) several alternating fundamentals of varying pitch and can select partials (forming the melody) from each.... The types of throat singing of various peoples differ not only in melodic style, but also in the height and timbre of the fundamentals forming their melodic possibilities. In Tuva, four genres of throat singing and four associated melodic styles are found. Each has its own name: kargiraa, borbannadir, sigit and ezengileer.The Kargiraa.Style: The fundamental, similar in timbre to the lower register of the French horn, is produced by the singer with half‑opened mouth. Among various performers its height varies in the range of the four lowest pitches of the great octave. During performance it may be kept unchanged, but sometimes it is moved down a minor third for a short period.The melody, placed in the upper pitches of the first and lower pitches of the second octave, is made from the eighth, ninth, tenth and twelfth partials of the fundamental, though some performers add the sixth partial as well. The change to a fundamental down a minor third is used by the performer only when the eighth partial sounds, which then also shifts down the same minor third. This is a traditional means of widening the scale of the tune. The partials forming the melody sound cleanly are heard clearly and distinctly and are reminiscent of reed‑pipe tones in bright and whistling timbre. Each partial sounds to a specific vowel sound and the melodic change from one partial to another is accompanied by a change of vowel‑sounds. (Ex. 2a).The repertoire of kargiraa throat‑singing consists most commonly of, special ornamented broad‑breathed melodies not performed as songs, though distinctive musical pieces might also be performed in kargiraa. These pieces begin with a psalmodic recitation of the text (sometimes any text and sometimes special kargiraa opening texts) on two pitches or, more accurately, on one fundamental tone in two positions: raised and lowered by a minor third. In such recitations the eighth, or more rarely the ninth, partial sounds simultaneously with the fundamental (in both its positions). Each half‑strophe of the song of these opening recitations is interrupted by a wordless melody usual for kargiraa throat singing. This melody is analogous to the traditional melodic line at the end of each text‑line or half‑strophe of Tuvin folksong, featuring a melodic figure for each syllable.The Borbannadir style: The fundamental in the borbannadir style is softer and quieter, similar to the timbre of the bass clarinet’s lower register. It is produced by the same position of the vocal chords as the kargiraa style but with a different position of the lips, almost totally closed (as in pronouncing the voiced fricative consonant v) Due to this, the breath is released significantly more economically in borbannadir style than in kargiraa. In the former the performer can encompass a greater number of melodic tones (partials) than in the latter. Thu fundamental in borbannadir style remains unchanging in pitch as opposed to the kargiraa style, where it moves down a minor third occasionally.The height of the fundamental varies among individual performers within the range of the three middle pitches of the great octave. The melody, placed in the range of the whole second octave and the lower third octave, is made of the sixth, seventh, eighth, ninth, tenth, twelfth and sometimes thirteenth partials. It sounds more resonant and soft than in the kargiraa style, reminiscent of the harmonics of the viola and cello. (Ex. 2b)In contrast to the kargiraa style, which remains unbroken for the space of an entire breath, singing in the borbannadir style is sometimes interrupted and sometimes broken. In unbroken singing the fundamental and its melodic partials are heard only as a single tone‑colour of the consonant v. In the broken singing of this style the intoning of v is interrupted by the full closing of the lips followed by opening either on x the plosive voiced consonant b or on the nasal consonant m. The timbre of the sound on m has two nuances differing in the height of the tongue: The lowered tongue sounds a usual m while the raised tongue (as for pronouncing...n) along with closed lips (as for . ..m) sounds like ... mn. ..The Tuvins consider the borbannadir style as technically similar to the kargiraa style. All performers who master the ... kargiraa style master ... borbannadir style, but many cannot master the remaining two styles of throat singing, which depend on a different technique of sound production. The technical similarity between kargiraa and borbannadir styles allows sudden changing from one to the other in the same vocal piece, as often happens among skilled performers. Some pieces begin on barbannadir, change to kargirua in the middle and return to borbannadir at the end. Other pieces begin with a melodic recitation of text in thekargiraa style and then move to the borbannadir style instead of kargiraa for the melodic section (after each half‑strophe).The Tuvins sing only special songs belonging exclusively to borbannadir in that style. Characteristic of the melody is descending motion, beginning with the high pitches (predominantly from the twelfth partial) and descending through leaps usually to the seventh, or more rarely the eighth partial, which is lengthily ornamented in a varied complex rhythm, mostly by trills. Pieces of this sort, but without the ornamenting on the seventh and eighth partials, are also typical for instrumental tunes on the iash hkomus. In some locales the borbannadir style is also known under a different name, khomei (a term also used by the Mongols for a related style‑‑MS). In the locales where borbannadir is called khomei they use the term borbannadir for melodic recitation of song texts begin­ning with several pieces in kargiraa style.The sigit style: The fundamental is tenser and higher than in the kargiraa and borbannadir styles. Its height varies according to performer around the middle pitches of the small octave, and is similar in timbre to a muted French horn or at times to a cello playing ponticello. It is produced by a special strained position of the vocal chords with half‑open mouth and sounds markedly weaker than the kargiraa style. During the course of a single piece it does not remain fixed but changes, but according to a different principle than in kargiraa. The character of its motion is the distinguishing feature setting off sigit from the other styles of Tuvin throat singing.. The fundamental is used not only as an ostinato tone with melodic partials but as a mobile, lower melodic voice without melodic partials.Two types of throat singing alternate in sigit: a monophonic one only in the low register and a two‑voiced type with a simultaneous lower and upper line. At the beginning a special melody (not from a song) of recitatory nature is sung with the fundamental to the words of any song. Next (either after the ending of each line or, in songs with a refrain (dembildei after each verse) the melody remains on a held pitch (the fundamental) on the basis of which the performer selects partials for a second, ornamented melody in higher register.In. pieces with a two‑voice melody each odd line of verse (first or third) is ended with a fundamental of one pitch while the even lines (second or fourth) end with a fundamental of a different height, a tone below the first. In the continuation of two‑voiced episodes after an even line the fundamental sporadically and briefly lowers a minor third, as in kargiraa style, and each two voiced episode ends with a traditional glissando fall of an octave, along with its partial.. . (Ex. 2c)Ornamented melodies of partials are produced in two‑voiced melodies after each line, from both alternating fundamentals. In two voiced melodies, following the odd‑numbered lines of song text such ornamented melodies are built on the eighth, ninth and tenth overtones ... and on the eighth, ninth, tenth and twelfth overtones after even numbered lines…...The partials on which ornamented melodies are built in sigit sound in a very high register (upper part of the third and beginning of the fourth octaves) in a sharp, whistling timbre reminiscent of the piccolo in the same register. The vocalisation of vowels in such a high register can hardly be distinguished and the corresponding relationship of vowels and their partials cannot be established. The upper voice in sigit…. Does not constitute a melody so much as an ornamented trilling and punctuating rhythm principally on two pitches (the ninth and tenth partials of the two fundamentals). This special melodic hallmark sets sigit off from all the other styles of Tuvin throat singing, in which the upper voice constitutes a developed melody.The Ezengileer Style: This style is identical in sound production and timbre to sigit, and is special only in melodic terms. The fundamental in ezengileer is placed in the same register ... as in sigit, but in contrast to sigit it does not move during the course of the entire piece. The opening melodic recitation on the fundamental, typical of sigit, lacks in ezengileer.The melody of the partials has melodic significance, as in kargiraa and borbannadir, and is not merely ornamental as in sigit. The melody in ezengileer is quite varied as it is improvised by performers from various partials. Thus, in one piece of this style recorded on a disc in 1934 from the performer Soruktu, in based on the sixth, eighth, ninth, tenth and twelfth partials (Ex. 2d), whereas a piece in the same style recorded in 1932 ... from D, Trubacheev is built on the eighth, ninth, tenth, eleventh, twelfth and thirteenth partials (Ex. 2e)In all the details just described (Including sound production and timbre) ezengileer is strikingly close to sample of Bashkir throat singing, uzliau. The latter differs from. . ezengileer only in the national character of the melody. In addition, the use of agogic accent in pieces of Tuvin ezengileer style sets it off from Bashkir uzliau.In the melody of the partials, as In the sounding of the fundamental of ezengileer one clearly hears the uninterrupted dynamic pulsations (alternation of strong and weak tones) in the rhythm of a… gallop… This characteristic dictates a tradition of performing pieces in this style on horseback. The term ezengileer in literal translation means “stirupped”, from the word ezengi, "stirrup”.... The persistent upward leaps of a third and a fourth (to the twelfth partial) with holds on the upper pitch….sound like fanfares or calls.http://www.soundtransformations.btinternet.co.uk/aksenovtuvinfolkmusic1964extract.htm
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Proto Hybrid & Kargyraa Krew - Robodonien 2010

Posted by Gisbert Schürig on July 30, 2010 at 21:30



The video shows impressions of Robodonien 2009 where we played with my band blotch - you hear my voice from our concert. The band is shown only briefly but you can watch the dancer who supported our sounds.

2010 Robodonien will be the place for the first gig of the project presented in this blog:

Proto Hybrid & Kargyraa Krew

I think this is exactly the right place for the premier of this project and I´m looking forward to it!
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In Mallick's heart, a Musical Experience

Posted by Joel Olivé on March 9, 2010 at 21:00
ॐ

I woke up in Allahabad the 18th of January, early morning, in the famous
train Prayagraj Express, wich let me sleep, almost better than those
few days staying in New Delhi. After 2h rickshaw turning around and
around for a place to just let my things and discober this non turistic
city called Allahabad.

crossing+ganga.JPG?profile=RESIZE_710x


















(Left to right:Nishant Mallick, Guruma, Priyanka Mallick, Prem Kumar Mallick, Rani, Peter
Phannke, Lisa, Joel, boy in the boat; going for a bath on the Ganga riber, Allahabad.)

Just let my things in this room and asked
to hostel manager what things would be interesting for me to see here.
I was having 1 day or more by my own before meeting Prem Kumar Mallick,
so I let my own on adventure to Sangam, and the Ford. Sangam is where a
Mag Mela is taking place during one month every year: So a huge
splanade of more than 20.000 people camping there (being the bigest
camping in the world) next to the meeting point of the Yamuna and Ganga
rivers. This holy place goes on with pooja (praings to god), all day;
is a completly devotional place, full of swamis, an spiritual hinduist
seekers. There I got blessed by a Baba for a turist price, and got my
first lesson on repeating this holy words he was saying. I also got a
more extended meaning of the word Nadi (Naadi) that is a channel, but
also can be a riber, as well as the meridians (in acupunture).So
after a couple of calls Prem Kumar arrived to Allahabad, coming from a
program from Calcutta। Those days were so foggi, as usual in this
period of the year, that trains were taking big delays; so the 19th in
late afternoon. After meeting Pryanka (Prem's daughter), and Guruma
(Guruji's -Prem- wife), and Rani (studient), I let my few things in a
nice room, in Mallick's house, and took the first vocal class in
Dhrupad singing, straight away.

SA RE GA MA PA DA NI, would be
my main words in the next three week's, that I already knew. So I was
begining with this old and beautiful (and not easy) raag (indian
composition), where all the notes are sudha (natural) but MA (the
fouth) is tivra (FA#): this is an evening raag, called Yaman (belonging
to the group of Kalian thaat). In one hour I got the Alaap (that is the
part that introduces all the pitches that will appear, very slowly -it
can take 30 minutes or more). And then the composition (in Chautaal, 12
beats rithm) where, in some phrases, the devotional song is sung. Just
poetry to the ears and spirit, in a close relation of the roots of our
culture. So the learning must go, as far as I realized, in 3 diferent
directions: the music (melody and rithm), lenguage (understanding, and
pronounciating), and culture.Life became easy in this house,
very fast. Mallick's family come from a very old garana tradition (13
generation) and they love teching, and they know how to do it. Apart
from their musical knowlege from Dharganga Garana (their own family
tradition), they give us this great traditional indian food, wich
guruma is all they preparing with the help of Pryanka and some students
in the kitchen, also (like Lisa, the wife of Peter Phannke). Like in an
ashram, we share house, food, cultures and art, that is going on all
time. Just some days in the house, and I went to a recording session to
play tampura (drone string instrument for acompaniament indian
classical music) in the local radio of Allahabad, with both Mallick's
sons Nishant and Prashant.This house is more like an ashram than a
common house. Seven days a week, students of all ages are coming to
recive their lessons, from morning to late afternoon. As Guruji is
teaching in the University of Allahabad he needs to take care of the
well musical developement of them all. And also we (the students living
with them), and some family visitors, and friends that may stay for
some days. Is a 3 bed room house, one living room, one kitchen, and one
room for the music, and I might have seen 100 diferent persons here in
10 days, couning students, family, long distance visitors from all over
the world, some old students from Guruji's Father, and press.


Dayly life in Allahabad
30 Jan. 7:15, AM, Purnima (full moon).The soud of the train reaching the city does not disturb the singing birds surrounding the house...Again with the rising sun the electronic tampura wake's up the house, with Guruji's voice, and every one in the house hears the calling to get together downstairs, in the smallest room of the house to wake up the
voice, while the txai (tea) is geting ready: This is in both ways to
get worm and to get together (wich indians just love -that's why this
country is so crowded). Here the strechings are for the voice, and some
morning raag, like Gurkuly orBhairav, will be played.After
breakfast, some exercices in the rooftop, cleaning the house, or
whatever is needed, while the students begin to come for their practice.So
Music keep's on, as well as preparing the food, the morning pooja, and
all daily ritual, but today, with the special energy of the Purnima.In
the end of the day, after some shoping in the comercial area, we reach
Hanuman temple, get some prasats and give more make more pooja.

Text by Joel Olive.
www.nadis.cat

The Mallick Family and the Dharbanga Garana
by Peter PhannkeThe Mallick Family is the leading representative of the court music tradition of Darbhanga, a former state in the north-eastern corner of India, close to the Nepalese border. They trace their line to the
singers Radhakrishna and Kartaram who appeared at the court around 1785
and made a name for themselves by averting a drought by singing of the
magical rain Raga Megh. Maharaja Madhav Singh of Darbhanga granted them
the title Mallik - landowner - and awarded them two villages and the
surrounding landed property, which the family owns up to the present
day. They served at the court until 1947. After the death of Pt. Ram
Chatur Mallik, the last court singer, in 1990, and Pt. Vidur Mallik in
2002, Pt. Premkumar Mallick is the leading musician in the family. The
Malliks are famous all over India for a very rhythmically elaborated
interpretation of Dhrupad. Except for Dhrupad and Dhamar compositions -
of which they possess an unparalleled stock - they are also known for
their exposition of Khyal, Taranas, Ghazals, Bhajans and songs of the
medieval poet Vidyapati in Thumri style. Premkumar and Rashmi Mallik’s
sons Prashant (27) and Nishant (21) have been awarded Gold Medals in
the All India Radio Music Competition in the field of Dhrupad &
Dhamar, whereas daughter Priyanka (23), who gave her first concert at
the age of 7, is excelling in Khyal.In Europe, they appeared first
in 1983 in the European Dhrupad Mela organized by world music
specialist Peter Pannke, who has lived with the Mallik family in India
for many years. In 1992 they took part in the Parampara! Festival in
Berlin. The 1993 European tour climaxed in the opening concert of the
New Jazz Festival Moers, in 1994 they appeared at the legendary BBC
Proms in the Royal Albert Hall in London. Since then they have
performed regularly all over Europe and in America.More info: http://www.premkumarmallick.com/
Read more…

ZAZAL ~ music by Egschiglen

Posted by Egschiglen on November 26, 2009 at 19:00
Another fine CD by one of the current batch of groups from Mongolia. It features the marvellous khöömii of Amra (Amartuwshin Baasadorj) on at least five of the pieces. Finely recorded the Cd is a mix of traditional arrangements and contemporary compositions performed by Tume (Tumenbayar Migdory) on Morin Khuur & vocals, Tunuruu (Tumursaihan Yanlav) Morin khuur, aman khuur & vocals, Uugan (Uuganbaatar Tsend-Ochir) Ih Khuur, Boogi (Batbold Wandansenge) percussion, denshig, vocals and Saran (Sarangerel Tserevsamba) yoochin & vocals.13530593497?profile=original
ZAZAL ~ music by Egschiglen
1. Hartai sarlag Traditional - arranged by Tumenbayar Migdori - solo khöömii vocals by Amra and solo vocals by Boogi
This song is inspired by an old melody of Durvud minority from the western region of Mongolia. It's used on the pastures as a calming song for yaks.

2. Uils dundaa sain Traditional - text and arrangement by Tumenbayar Migdorj - solo vocals by Amra, Boogi, Saran and Tummu
This is a folk song about the risks of alcohol. When alcohol remains in the bottle, there is calm, but when it is out of the bottle, there is a fiestiness. It is heard in toasts: Alcohol should only be used for the good things in life!

3. Yamaanii boodog Composed by Hangal - text by Amartuwshin Baasandorj - arranged by Uuganbaatar Tsend-Ochir - solo khöömii vocals by Amra
The “goat stone roast” is a Mongolian meat dish prepared for special occasions such as celebrations and long trips through the nature. During one such trip, the composer Hangal had the idea for this music. How to prepare “Yamaanii boodog”: The goat will be slaughtered, the head cut off, the innards will be taken out through the neck and seasoned with salt, onions and herbs. The goat will then be stuffed with this mixture and hot stones and grilled. Enjoy!

4. Han huhiin uuland Composed by Sharav and Mend-Amar - text and.arrangement by Tumenboyar Migdorj solo khöömii vocals by Amra and solo vocals by Boogi
This song is about Han Huhii mountains extend in the eastern area of Mongolia. The first part of this song, an instrumental by Mongolian composers Sharav and Mend-Amar, was originally written for flute. Egschiglen has re-arranged this song for traditional Mongolian instruments and the flute has been replaced by the khöömii.

5. Talin salhi Composed by Isao Tomita - text by Choinom - arranged by Tumenbayar Migdorj - solo khöömii vocals by Amra and solo female vocals by Saran
Egschiglen improvises from a Japanese melody with poems by a Mongolian poet. The song tells about several incidents in the 12th and 13th centuries during the period of Gengis Khans, who drastically altered the world of that time.

6. Mandluhai Composed by Janzannorov - text and arrangement by Tumenboyar Migdorj solo vocals by Amra, Boogi and Tummu.
This melody goes back to the Mongolian composer Janzannorov who studied in Kiev and Ulaan Bataar. Janzannorov is one of the most famous exponents of' Mongolian contemporary music. To date, he has composed more than 200 pieces for theatre and cinema. He is a contemporary and teacher of Egschiglen.
7. Herlengiin barya Traditional - arranged by Tumursahain solo morfin khuur by Tumruu.
This piece is inspired by the traditional “Long songs” (urtyn duu) known throughout Central Asia. These songs are extremley slow, serious and sad. Tumruu follows with his morin khuur the endless streaming river Herlen in the central east part of Mongolia.

8. Haramgui Composed, text and arrangement, solo khöömii vocals and moriin khuur by Amartuwshin Baasandorj
This song is a khöömii vocal improvisation. It's vocal style also called throat singing of diphonic singing. The vocalist Amra modulates between different techniques of this style requiring a complex interplay of abdominal breast and body breathing, of vocal cords, glottis and throat, of tongue, lips and oral cavity.

9. Setgeliin egshig Composed by Sharav - arranged by Uunganbaatar Tsend-Ochir.
This instrumental piece goes back to the early 1970 and is one of the first compositions of Mongolian modern classic music.

10. Morin khuur konzert Composed by Hangal - arranged by Tumenbayar Migdorj - solo moin khuur by Tume.
In the 1980's compositions for morin khuur and classical western instruments were written for the first time. Mongolian composer Hangal contributed many works during that time renewal, for the first time since the time of Gengis Khan, classical Mongolian music. Hangal studied at the music conservatory of Alma Ata and Svedolovsk. He received the most honoured and important art award of the Mongolian republic, the “Turin soerhol". His “Moriin khuur konzert" marked one of the most important turning points in Mongolian music history. This work has been re-arranged by Egschiglen for exclusivley traditional Mongolian instruments (morin khuur solo, morin khuur, yoochin, percussion, ih khuur).

11. Elstiin ganga Traditional - text and arrangements by Tumenboyar Migdorj - solo vocals by Amra, Boogi, Tume and Tummu
This melody is inspired by a folk song from the Darhad minority from the northern part of Mongolia.

12. Yan Tai Wan Göögöö Traditional - arranged by Tumenbayar Migdori - solo vocals by Saran
This love song is dedicated to a man called Yan Tai Wan Göögöö.

13. Builgan shar Traditional - arranged by Tumenbayar Migdorj
This composition is an allusion to the endless width of the landscapes of the Gobi desert and the camel herds which cross it. It is based on the traditional folk music the Gobi, homeland of the musicians Saran and Uugan.
Read more…

Music by Egschiglen ~ GEREG

Posted by Egschiglen on November 25, 2009 at 18:30
This is Mongolian ensemble Egschiglen’s fourth album and the third to feature Amartuvshin’s fine Khöömii (Throat Singing). Amartuvshin comes from Chandman District in Western Mongolia, arguably the birthplace of Khöömii. His powerful singing retains much of the traditional styles of older singers such as Tserendavaa; however the influence of Tuvan Khöömei can be heard in the low Khargiraa (sub harmonic) style particularly on their renamed version of Huun Huur Tu’s classic ‘Kungurei’. Amartuvshin sings lyrics in Khailakh (a tense compressed guttural voice) or Khargiraa styles with the amazing non-verbal high melodic13530593866?profile=original
GEREG ~ music by Egschiglen
overtone style being featured on half a dozen cuts. His mastery enables him to sing the dizzyingly heights of the 16th harmonic and to adapt to unfamiliar musical settings. The one drawback is that his Khöömii can get lost in some of the overly dense arrangements.


1. Hunnu is a song from the 'deep past' of Mongolia - and a homage to the Huns who founded their legendary empire in the 3rd century BC between Lake Baikal, the Altai Mountains, the Chingan range and China, the first nomad empire of Central Asia consisting of 25 peoples. China tried to protect itself against the raids of the "barbarians of the north", as the Chinese farmers called the Huns disparagingly, by building the Great Wall. The empire of fearless nomad horsemen disintegrated after the death of their king Attila in 453 AD.

2. Goviin Magtaal : Paeans or songs of praise (magtaal) are sung to pay tribute to nature in itself, the spirits of nature or the Lamaistic gods or to praise individual mountains, rivers, animals or heroes. It is mainly camel-driving nomads who live in the Gobi Desert, so this paean is sung to the Gobi in the rhythm of the camel's footsteps. "From the blue gleaming steppe you come to visit us in the Gobi. When you visit us in the Gobi, you are cordially invited to our yurt. The doors of our white yurt are always open. With best wishes we invite you: take a seat on the north side of the yurt (place of honour), and the genial Gobi girl will entertain you with freshly brewed tea with camel's milk. Visit us in the Gobi, the home of countless herds - the fabulous Gobi."

3. Duuren Zaan : This composition is based on a myth about the legendary wrestler Duuren Zaan, a young man of the people who was killed by the people of the prince because he had defeated the prince's wrestlers. Earlier the wrestling competitions were arranged by princes, high state officials and religious dignitaries, they had their best fighters compete against each other, not uncommonly with fatal consequences. State and church, represented by their wrestlers, often carried out a power struggle. The church often won ...

4. Aisui Hulugiin Tuvurguun: "The echoing hoofs of the approaching horses", as the title of this piece is translated, is an anthem to the Naadam festival which is celebrated in Mongolia in the middle of July. Its roots go back to the time of the Huns and Genghis Khan. The three warlike 'basic sports' are the focus of the festival: wrestling, archery and horse racing. During the spectacular horse race which takes place over several days, hundreds of riders start well outside Ulan Bator and chase like a cloud of dust through the steppe up to the competition area, followed at break­neck speed by spectators in jeeps who can afford to watch the race from as close up as possible. The festival begins when the six to twelve-year old boys and girls climb into the saddles in order to take the horses into the race as jockeys. The first five winners are given a prize and awarded with a song of praise (moriny tsol). Successful horses can reach astronomical prices when sold - the breeding and the training of the animals are a science in themselves in which the experiences of the nomads and warriors over the centuries are passed down.

5. Jaran Zagaan Aduu: The sad old song of the Tuva people from the northwest tells the story of the time of the Manchu rulers in Mongolia (1691-1911). All men between 18 and 60 were liable to military service, many of them were drafted from the Manchurian central power, and hardly any returned: "Of sixty white horse herds / where are the best, my brothers / Of six regions of our country / Where are half of the people, my sister?"

6. Meeneg : Sun, moon and the endless starry sky have also always exerted their magical fascination on the Mongolian people. Shamanistic practices are also closely connected with the heavenly bodies here. The Buryat people from the northeast of Mongolia are the only ones who practice a round dance (yoohor) which describes the circle of the sun's orbit. It is accompanied by sung strophes which are improvised by individual singers and are answered in the chorus by all dancers. "Meeneg" is a love song and is widespread in the west of Buryatia in particular; in the eastern part it was banned by the Buddhist lamas and may be heard only at weddings.

7. Nutgiin Zamd : Amra, the khöömii virtuoso in the ensemble, comes from Chandman Sum in west Mongolia, the birthplace of overtone singing. Here the khöömii traditions go back more than 1,500 years, and from generation to generation the five most important khöömii variants are passed down. Khöömii is much more than 'just' the art of overtone singing. In Mongolia khöömii is also seen as a spiritual and magical art form which requires power, endurance, perseverance and comprehensive training - almost like a sport. Khöömii teaches the people to overcome difficulties and to enjoy the results of their work. People who do not respect difficulties or are not interested in overcoming them cannot become khöömii singers. In "Nutgiin Zarnd" Amra describes his (spiritual) journey home.

8. Huurhun Haluin : This ritual farewell song of parents for the bride is a traditional Mongolian long song (urtyn duu). It consists of three basic forms: extended long song, general long song and abbreviated long song (besreg). The verses of the besreg are short and its musical structure is less complex so that the lyrics - in this case advice to the bride to follow the words of the parents respectfully to maintain friendship with the new sisters - can be understood better: "Your beautiful beige-coloured horse has a gentle character, but you still have to be careful when saddling. The customs are different in the foreign country. Wait until you get used to these."

9. Adagio from the Ballet “Uran Has” : During the socialist period (1924 - 92) European art forms like classical music, opera and ballet came to Mongolia, and traditional Mongolian songs and dance melodies were Europeanised. Revolutionary lyrics were often combined with traditional melodies adapted in such a manner as they were seen as a symbol of the "new music for a new time". Jamyangiin Chuluun (1928 - 96), whose ballet "Uran Has" from 1973 was the basis for the Mongolian ballet school, received the state award in 1966 and later various other awards for his contribution to the development of classical music and ballet.
The ih Nur musician Uugan dedicates this composition to his friend Peter Lindi, with whom he built his Mongolian bass violin which can be heard for the first time on this recording.

10. Byan Hishig daa Lam : The band improvises on a humorous folksong, the title is the name of the protagonist.

11. Udelt : A short song like the Darhad from the northwest of Mongolia sing: the lyrics tell the story of a painful farewell.

12. Shigshergiin Ai : The melodies and rhythms of many short songs imitate noises, movements and the character of animals, especially horses. The gaits of a horse in particular are described meticulously and translated into music: walk, trot, gallop, amble etc. This song of the Dörvöd traces the amble of the fine brown horse and the sound of the harness magnificently decorated with silver work.

13. Chamagaa Gelgui Yahav : A short song of the Dörvöd people in the west of Mongolia: "Of sixty thousand sheep / The red ones are the best / Of a hundred thousand boys / You are my only sweetheart". Short songs (bogino duu) are very popular in northwest Mongolia, they are sung at casual meetings. The singer improvises his (often satirical) lyrics about everyday events, embarrassing behaviour, difficult relationships - or like in this song - about love.

14 Zezegtei Harmai : is a besreg duu, an abbreviated long song of the Darhad who live in the forested Taiga regions and breed yaks or reindeer. It describes the beauty of this region around the Harmai river and traces the contours of the mountains, valleys and steppes.

15. Bonus Track : For a while the band have pitched their yurt in the rural Bavarian area of Röthenbach an der Pegnitz, where they can hear unfamiliar sounds which they readily pick up and turn into music with a humorous wink - and when it is a Franconian peasant song.
Read more…

Mongolian music

Posted by Jens Mügge on May 20, 2009 at 5:30
mongolianmusic.blogspot.com is a blog dedicated to promoting Mongolia and its culture in general. You find there links to music sites and videos of groups and singers specializing in traditional music from Mongolia and some contemporary music too.

Hosoo & Transmongolia live @ Overtone Festival Prague 2008Hosoo & Transmongolia live @ Overtone Festival Prague 2008 - Photo © JM


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