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Vladiswar Nadishana Multi-Instrumentalist und natürlich Fujaraspieler.

Posted by Roderick Zeig on July 31, 2008 at 13:30
Vladiswar habe ich auf der Reise nach Detva kennen gelernt. Er ist er ist ein etwas kleinwüchsiger Riese, der an die 1.60m locker heran kommt. Vladiswar ist present, mit seiner liebe zum Rythmus, Takt und Klang, eben ein Multi-Instrumentalist. Er spielt Diverse Flöten wie kein anderer, macht Rythmus variationen und schlägt mit den Klängen Purzelbäume.

Der Musiker Vladisvar Nadishana ist ein virtuoser World-Fusion Multiinstrumentalist und Komponist aus Sibirien. Im Winter wird es an die Minus 35° und im Sommer schmachten die Leute bei 45° Celsius. Wahrhaftig kein Honig schlecken mit solchen Temperaturen um zugehen.

Das erste Musikinstrument für V.Nadishana war eine akustische Gitarre, die er Anfang Neunziger Jahre zu spielen begann. Einige Zeit später entdeckte er für sich die reichen Musikkulturen von Indien und Afrika und ließ sich hingebungsvoll vom Spielen der ethnischen Musikinstrumente mitreißen. Im Laufe von 15 Jahren seines seriösen und intensiven musikalischen Schaffens hat er ein experimentelles Musikstudio unter den Namen "Soundmicrosurgery Department" gegründet, wo er 7 eigene CDs aufgenommen hat. Soundmicrosurgery Department verfügt inzwischen über eine reiche Sammlung der seltenen ethnischen Musikinstrumente.

Außer üblicher Musikstudiotätigkeit beschäftigt sich Soundmicrosurgery Department mit der Erforschung der uralten Musikinstrumente. Es werden dort die traditionelle und experimentelle Spieltechniken studiert und neue Methoden einer nichtlinearen Tonbearbeitung entwickelt. Die neu entstandene Methoden werden als Soundmicrosurgery (=Tonmikrochirurgie) bezeichnet.
Das Studio arbeitet auch auf dem Gebiet der Musiktherapie und erforscht den Einfluß des Klanges auf den menschlichen Körper.
Zu den weiteren Tätigkeiten des Studios gehören Webdesign und Videoart.

Das kreative Verfahren von V.Nadishana basiert sich auf der Synthese der Musiktraditionen der Welt. Die uralte Musikinstrumente, die häufig Museumsexponaten sind, setzt er mit Feingefühl im Kontext der zeitgenossischen Musik ein. Gerade dadurch werden die vergessene traditionelle Musikinstrumente zum Leben erweckt. Ein Beispiel dafür ist seine innovative Technik beim Spielen der russischen Obertonflöte Kaljuka, seine Erfindung und Verwendung von "Maultrommelsets", Verwendung der Flöte Tsaai Nplaim aus der Kultur des Hmongstammes aus Laos in Ethno-Jazzarrangements. usw.

Seit 2005 wohnt V.Nadishana in Berlin (Deutschland), wo er an einigen Projekten arbeitet. Die wichtigsten davon sind:
- das Soloprogramm, wo V.Nadishana uber 20 seltene ethnische Musikinstrumente aus der ganzen Welt präsentiert
- das Trio "4th Race" (www.4th-race.com), die Band, die zeitgenossische ethnische Musik spielt.

Vladiswar Nadishana hat mit folgenden Musikern und Künstlern zusammengearbeitet:

Steve Shehan (France)
Kuzhebar Design (Russia - Siberia)
Hadouk Trio (France)
David Kuckhermann (Deutschland)
OSUNA (Belgium)
Emmanuelle Somer (France)
Ian Melrose (Germany)
Kelpie (Deutschland)
Norland Wind (Deutschland)
DJ Genetic Drugs (Deutschland)
Kalimat Trio (Israel - Russia)
Russian - Tuvinian Karma Knot (Tuva - Russia)
Ursel Schlicht (New York)
Beg An Dorchenn Project (Bretagne, France)
Ensemble Ri (Russia)
Capercaillies at the Treshold of Eternity (Russia)
Mehi (India)
Paul Lawler (England)
Phonic Duet (Russia)
Siobhan Donaghy (England)
James Sanger (France)
Kit Walker (USA)
Wolfgang Stindl (Ikarus project) (Austria)
Earritation (Germany)
Marion Kokott (Germany)
Kailash Kokopelli (Germany)
Ramesh Weeratunga (Sri Lanka)

Die Hörproben von den oben genannten Musikprojekten befinden sich auf seiner Collaboration page.


V. Nadishana ist der Preisträger der mehreren internationalen Musikfestivals der Ethnomusik, wie z.B. "Ustuu-Huree", "The Sayan Ring Festival", "New Songs of the Old Land", Kihaus FolkFest, Musicastrada Festival u.a.a.. Er ist auch ein Gründer des Ethnofestivals "Karma-free Zone" .






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Collaboration and visualization

Posted by Dave Seidel on July 19, 2008 at 19:37
[Also posted to the "art meets music" group.]Greetings to all. I am very interested in collaborating with visual artists, especially video artists (but I am open to anything). In particular, I am currently looking for visual work to incorporate into a small concert I will giving in the States this fall (late September) to coincide with an independent CD-R release. So if you hear something of mine (as posted here or on my http://mysterybear.net) that inspires a visual response or interpretation, please let me know, I would love to hear from you.
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parallelwelten

Posted by Werner Worschech on July 14, 2008 at 11:00

13530596092?profile=original

Art-Nr: bmk 20081, 15 € plus shipping costs


parallelwelten
Die Aufnahmen zu dieser CD entstanden alle während diverser Aufführungen im Jahr 2007. Lange habe ich gezögert, diesen Weg zu gehen. Doch diese öffentliche, nicht im Studio konstruierte Form ist diejenige, die den eigentlichen Prozeß meiner Arbeit deutlich werden läßt. Meine Arbeit mit dem Klang ist auch ein Prozeß der Bewußtwerdung. Für mich selbst und für alle Beteiligten. In diesem Falle die jeweiligen Herausforderungen, durch die Durchdringungen von Innen und Außen. Sie führen uns die Gleichzeitigkeit der Welten vor, womit wir, ob wir wollen oder nicht, klarkommen müssen, denn an dieser Stelle wirkt das Leben. Hier hat das Wollen wenig Möglichkeiten, ja, es wirkt oft eher behindernd. Somit bieten sich im Hier und Jetzt die Chancen, uns dem Fluß anzuvertrauen, Reibungen auf neue Weise als Bereicherungen jenseits des Wollens erleben zu dürfen, die uns den Weg weisen zu mehr Vertrauen und Freiheit. In diesem Sinne wünsche ich Ihnen offene Ohren und Herzen!

Werner Worschech

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Overtone meets india (o.m.i.)

Posted by Werner Worschech on July 12, 2008 at 4:30

13530595887?profile=original Art-Nr: bmk 20082, 15 € plus shipping costs


Overtone meets india (o.m.i.)
The encounter of overtone singing with Indian classical music is a particular challenge. Indian musical instruments like Tanpura, Harmonium or Shrutibox are inspiring accompanying instruments for many overtone singers. While Indian classical music misses explicit overtones which, for instance, are known in the tradition of Mongolian music, accurate listening helps to discover an abundance of overtone colours in the complex vocal lines of Indian ragas.

Under the band leader and tabla player Debashish Bhattacharjee the group Anubhab plays Indian classical music as well as as Ghazal, Thumri, Dhun, Bhajan and Bollywood. Since 1998 Anubhab is a regular guest in Germany.

The musicans and overtone vocalists Dieter Wienand, Lothar Berger and Werner Worschech entered into musical dialogue with Anubhab, opening up a new sound dimension out of both cultural worlds. This unique Compact Disc contains the hearable result. It was recorded during a concert in the evangelical Martinskirche Bottrop in April 2008.
The concert serie »obertöne vor ort« is a co-ope–ration of Werner Worschech with the evangelical Martinskirche Bottrop and the performing artists.

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MYSTERIES OF THROAT SINGING

Posted by Dean Frenkel on July 4, 2008 at 3:47
MYSTERIES OF THROAT SINGINGAn enormous collection of singing styles share common elements - opera, jazz, country, blues, rock n roll, gospel, pop, funk, rap, soul, et al. They sing songs, songs with words, words which emphasise whole notes, duration of singing breaths mostly under 10 seconds, and usually within a restricted zone of medium frequencies. Throat singing has none of these parameters.The many styles of throat singing don't need songs or words - vocals are instrumentalised rather than sung. Voices which can sound like piccolos, organ, didgeridoo and bagpipes. No need to sing just one note when 2-6 sounds are achievable with one voice - singers can sing in harmony with themselves, and focus on the fine tonal qualities within the fundamental note. No need to restrict frequency space - a broad range of frequencies are accessible and a singing breath which can last, for some, over a minute.Little wonder throat singing inspires more questions than answers. Where and when did it start and by whom? There is consensus that the earliest accepted beginnings come from Mongolia, which doesn't explain how people in the jungles of Congo Africa, the highlands of Papua New Guinea, or the Andaman Islands began the practice. Perhaps the family tree of Mongolia with its paleolithic migrations grew branches in Tuva, Siberia, Canada, Japan, Nagaland, Taiwan, Sardinia, and Northern Europe while other indigenous peoples began the practice independently. Contemporary gene studies show common genetic linkage between Mongolians, Tuvan, Siberian Eskimos, and Native Americans.Throat singing has been a sacred and shamanistic practice in many of the most isolated and remote communities in some of the coldest and hottest places of human habitation. With many unorthodox components, this exotic art is full misconceptions - both from the outside and the inside worlds. Allow me to attempt to elaborate on these.MISCONCEPTIONS FROM THE OUTSIDE WORLD1) Many think it impossible that these sounds could come from the human voice - that the harmonics are actually being created by an instrument or electronic synthesizer. This is the easiest misconception to disprove.2) Mainstream western ears, both popular and classical often perceive throat singing's sounds not to qualify as music. For them music requires a beat, rhythm, words and emphasis on whole notes. Each to their own beach.3) Agents of superstition charge that throat singing's other-worldly qualities can somehow be threatening to the mainstream. This has resulted in persecution of indigenous peoples by authorities of Soviet Russia, Japan, Sweden (18th C), China, and beyond.4) The most ridiculous yet damaging misconception - the evangelistic charge that throat singing is satanic. This has driven missionaries in Asia, Africa, the Americas and Europe to impose culturally genocidal policies upon indigenous peoples, including Canada where it was banned throughout the 20th century. Yet this madness still exists today - a Pentecostal Minster in Victoria, Australia recently banned and tried to obtain all copies of Sarah Hopkins' internationally renowned harmonic composition 'Past Life Melodies'. Yet if it were a threat to Christianity, Sardininian Catholic devotees would not have incorporated throat singing into their devotional songs.MISCONCEPTIONS FROM WITHIN THROAT SINGING COMMUNITIES5) The old misconception that women shouldn't sing harmonics - promoted by number of throat singing cultures even formerly in Tibet and Tuva. Yet among Canadian Inuits and the Xhosa tribe, women are the main throat singing practitioners. The common fear-tactic that women shouldn't throat sing lest they become pregnant or give birth to babies with two heads - has been widespread. In Australia the same fear-mongering is applied to women playing didgeridoo, leaving an uncomfortable vibe for women wanting to play.6) There was once an old misconception among traditional throat singers that the vocal techniques were exclusive to them; that no one else could do it. This is not surprising given how isolated and protected they were from the outside world. As the world gets smaller and more modern this is being effectively debunked.7) It is controversial to question the perception that harmonic overtone singing was invented by David Hykes. Indeed he did obtain a patent on 'harmonic chant' and grandly pioneered throat singing to the west, but it is hard to believe that the many overtone techniques, and the extraordinary purity of sounds had not been explored before the 1980's. Is harmonic overtone singing as modern as rap singing? I don't think so.8) There is an unfortunate misconception by some throat singers that their intoxicating gift makes them a Jesus-like figure. Though mastering this art does extend boundaries of awareness these bounds are not an exclusive domain. There is not simply one master, there are many.9) There is the questionable notion that harmonic overtone singing is not as authentic as known traditional throat singing. I think time will show this to be wrong.10) That throat singing should be secret. I have struck purists who thought that overtone singing should be restricted to discreet presentations in sacred places and churches. Yet there is evidence that throat singing is in serious decline in many of its traditional grounds - the Ainu of Northern Japan most recently lost its last throat singer in 1976. Of the 23 or so traditional throat singing cultures it may be seriously endangered in 20 them. In the 13th century Tibetans incorporated throat singing into their prayers partly to make it unintelligible to the Chinese. But in a monumental major change of policy the Dalai Lama opened Tibetan throat singing to the west in a effort to help Tibetan culture survive. Despite a history of secretivity throat singing can no longer afford to be secret to survive.Paradoxically the very things which have threatened throat singing are now its saviours; the west and technology. Recorded music, video, the internet, television, and the west are giving new life to throat singing in the 21st century.On a personal note I appreciate the efforts and passion of champions of particular throat singing cultures like the Tuva-philes. While I am passionate about the interests and music of traditional throat singing cultures, I am excited by the broader and diverse application of throat singing. It is my belief that there are many more harmonic vocal techniques and sounds no longer practiced, therefore not recognised, and that there is much knowledge about the subject yet to be unearthed. This presents opportunities for exploratory artists to unearth many of these.I'm looking to find out more on the effects overtone singing has neurologically, having been part of a pilot study which involved an EEG wired up to my brain. Preliminary results showed my left prefrontal cortex (the happy centre) lighting up during throat singing.I'd like science to investigate the possibility that throat singing goes back to the origins of human language – in the first stages of learning to speak, harmonics are drawn out - indeed saying words slowly enough actually draws out the harmonics within speech. But despite impressions, this may actually not be not going back far enough. There may be an inter-species connection - a number of animals including monkeys, birds are reported to make sounds very similar to throat singing.My enduring passion for harmonic overtone singing graduates beyond culture - for me it is about spirit, health, and musical issues - and knowledge about consciousness, evolutionary linguistics and many schools of science. It is also about fun and freedom.
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