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International Overtone Events - Internationaler Oberton Eventkalender

Posted by Jens Mügge on October 19, 2009 at 20:30
International Overtone Events - Internationaler Oberton Eventkalender - from www.oberton.org This list is not a complete list of events - just a list of events by musicians or band managers who added their events with this form to the Oberton Eventkalender

Download Link for the International Overtone Concert & Workshop Event Calendar as PDF at oberton.org (German Version) updated October 17th 2009 - Edition 17.10.09

Klicke hier, um den Internationalen Oberton Eventkalender - Ausgabe 17.10.09 als PDF herunterzuladen von www.oberton.org.

The following list is not the same with the OMN event calendar. Therefore you can find additional other overtone concerts and workshop events at overtone.cc
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20.10.2009 - (DE) Berlin Miroslav Grosser - Gruppe/ Advanced, Zentrum für Stimme und Bewusstsein, Wundtstr. 13, 14059 Berlin. www.stimmlabor.de

22.10.2009 - (DE) Berlin Miroslav Grosser - Gruppe/Beginners, Zentrum für Stimme und Bewusstsein, Wundtstr. 13, 14059 Berlin. www.stimmlabor.de

22.10.2009 - (CH) Landesmuseum ZH Stucky, Alder, Zehnder - Konzert, Vernissage. www.slmnet.ch
23.10.2009 - 25.10.2009 - (CZ) Prag Wolfgang Saus - Workshop, Obertonausbildung, Novoměstská radnice, Karlovo nám 1/23, P-1. www.alikvotnifestival.cz 23.10.2009 - (ES) Leioa (Vizcaya) Egschiglen - Konzert, Festival. www.albakultur.de/ 23.10.09 - 25.10.09 - (ES) Alicante Nestor Kornblum - Workshop, Dome. www.harmonicsounds.com 24.10.2009 - 25.10.2009 - (DE) Landsberg a. Lech Matthias Privler - Grundkurs 1+2 Obertongesang , Landsberg Music School, Ahornallee 4c 86899 Landsberg. www.obertonchor-muenchen.de, www.landsbergmusicschool.de 25.10.09 - (ES) Barcelona Nestor Kornblum, Michêle Averard - Workshop, Sound Healer Training Course, RaMaDaSa Yoga Center. www.harmonicsounds.com 25.10.2009 - (DE) Schrobenhausen Cora Krötz - KlangZeit, Evang. Kirche; Martin Luther Platz 2. www.corasolo.de 28.10.2009 - (N) Bergen Huun Huur Tu - Konzert, Festival. www.jaro.de 30.10.2009 - (DE) Hammelburg Cora Krötz - Konzert, Bayrische Musikakademie . www.corasolo.de 31.10.2009 - (DE) München Matthias Privler - Aufbaukurs 1 Obertongesang/chor, Studio Equilibrium, Erzgiessereistraße 48, 80335 München. www.obertonchor-muenchen.de 05.11.2009 - (N) Oslo Huun Huur Tu - Konzert, World Music Festival. www.jaro.de 06.11.09 - (DE) Bottrop Hosoo & Transmongolia - Konzert, Obertöne vor Ort, Ev. Martinskirche, Osterfelderstr. 11. www.beruehrung-mit-klang.de 6.11.2009 - 9.11.2009 - (DE) Innerdeutsche Ex-Grenze Thomas Heinrich Schmöckel - Heil-Tönen-Event, . www.schmoeckel.net 06.11.2009 - (DE) Stuttgart Stimmhorn - Konzert, Theaterhaus. www.theaterhaus.com 11.11.09 - (www) web radio Jonathan Goldman and Guests - Radio, Healing Sounds Show, 9 am PST (17 GMT). www.healthylife.net/RadioShow 13.11.2009 - (DE) Landshut a. d. Isar Nikolay Oorzhak - Konzert, Ruffinischlösschen, Äussere Münchner Str. 59. mailto:sigrid_obermeier@hotmail.com 13.11.2009 - (DE) Neuburg/Donau Cora Krötz - KlangZeit, Zenshiatsupraxis; Birkenweg 6; 86633 Neuburg/Bittenbrunn. www.corasolo.de 14.11.2009 - 15.11.2009 - (CZ) Prag Wolfgang Saus - Workshop, Obertonausbildung, Novoměstská radnice, Karlovo nám 1/23, P-1. www.alikvotnifestival.cz 14.11.2009 - 15.11.2009 - (DE) Landau a. d. Isar Nikolay Oorzhak - Workshop Basis Level, Seminarhaus Exing, Eichendorf. mailto:sigrid_obermeier@hotmail.com 17.11.2009 - (CH) Fribourg Stimmhorn - Konzert, www.zehndermusic.ch 20.11.2009 - 22.11.2009 - (DE) Kyllburg Wolfgang Saus - Ausbildung Obertongesang, Sausbildung 1/5 – Jahresgruppe. www.oberton.org 20.11.2009 - 22.11.2009 - (DE) Kurs Bernd Michael Sommer - Workshop, 73230 Kirchheim-Ötlingen, Linkstr. 19 Tel. 07021 6945 linksambach@kirchheimunterteck.de www.linksambach.de 0763 3806 5550 www.bemiso.de 21.11.2009 - ( DE) Schloss Elmau Christian Zehnder, Kraah - Konzert, European Jazz Festival . www.elmau.de 29.11.2009 - (DE) München Matthias Privler - Aufbaukurs 2 Obertongesang/chor, Studio Equilibrium, Erzgiessereistraße 48, 80335 München. www.obertonchor-muenchen.de 30.11.2009 - (DE) Waidhofen Cora Krötz - KlangZeit, Alte Schule; Ringstr. 3. www.corasolo.de 04.12.2009 - (DE) München Wolfgang Deinert, Wolfgang Saus - Konzert, Film-live-Musikevent, Theater LEO 17 der Waldorfschule in Schwabing. www.oberton.org/ 04.12.2009 - (DE) München Wolfgang Deinert, Wolfgang Saus - Konzert, Theater LEO 17 der Waldorfschule in Schwabing. www.oberton.org/ 04.12.2009 - ( CH) Basel/Birsfelden Christian Zehnder, Kraah - Konzert, Roxy . www.theater-roxy.ch 05.12.2009 - (DE) München Wolfgang Saus - Workshop, Anfängerkurs Obertongesang. www.oberton.org/ 05.12.2009 - (CH) Basel/Birsfelden Stucky, Alder, Zehnder - , Roxy . www.theater-roxy.ch 06.12.2009 - (DE) München Wolfgang Saus - Workshop, Profikurs Obertongesang. www.oberton.org/ 6.12.2009 - (DE) Berlin Miroslav Grosser - Konzert, Kirche im Haus Conradshöhe, Eichelhäherstraße 19, 13505 Berlin. www.stimmlabor.de 06.12.2009 - ( CH) Basel/Birsfelden Christian Zehnder, Kraah - Konzert, Roxy . www.theater-roxy.ch 07.12.2009 - ( CH) Brig Christian Zehnder, Kraah - Konzert, Zeughaus . www.rro.ch 09.12.09 - (www) web radio Jonathan Goldman and Guests - Radio, Healing Sounds Show, 9 am PST (17 GMT). www.healthylife.net 11.12.09 - (DE) Bottrop Werner Worschech - Konzert, Obertöne vor Ort, Ev. Martinskirche, Osterfelderstr. 11. www.beruehrung-mit-klang.de 13.12.2009 - (DE) Berlin Miroslav Grosser - Workshop, . www.stimmlabor.de 18.12.2009 - (DE) Neuburg/Donau Cora Krötz - KlangZeit, Zenshiatsupraxis; Birkenweg 6; 86633 Neuburg/Bittenbrunn. www.corasolo.de 19.12.2009 - 20.12.2009 - (DE) München Matthias Privler - Grundkurs 1+2 Obertongesang, Studio Equilibrium, Erzgiessereistraße 48, 80335 München. www.obertonchor-muenchen.de 27.12.2009 - (CH) Landesmuseum ZH Stucky, Alder, Zehnder - Konzert, . www.slmnet.ch 29.12.09 - (DE) Baden-Baden Enkhjargal, L.V.Someren - Konzert, Kurhaus. Enkhjargal 15.01.2010 - 17.01.2010 - (DE) Kyllburg Wolfgang Saus - Ausbildung Obertongesang, Sausbildung 2/5 - Jahresgruppe. www.oberton.org 15.1.2010 - (DE) München Cora Krötz - KlangZeit, Aton e.V.; Heßstr. 45. www.corasolo.de 30.1.2010 - (DE) München Cora Krötz - Klangkonzert, Aton e.V.; Heßstr. 45. www.corasolo.de 30.1.2010 - (DE) München Cora Krötz - workshop, Aton e.V.; Heßstr. 45. www.corasolo.de 30.01.2010 - 31.01.2010 - (DE) München Matthias Privler - Grundkurs 1+2 Obertongesang, Studio Equilibrium, Erzgiessereistraße 48, 80335 München. www.obertonchor-muenchen.de 31.1.2010 - (DE) München Cora Krötz - Offenes Tönen, Aton e.V.; Heßstr. 45. www.corasolo.de 11.02.2010 - (USA) San Francsisco, CA Huun Huur Tu - Konzert, Cowell Theatre. www.jaro.de 26.02.2010 - (USA) Chicago, Il Huun Huur Tu - Konzert, Old Town School of Folk Music. www.jaro.de 12.03.2010 - 14.03.2010 - (DE) Kyllburg Wolfgang Saus - Ausbildung Obertongesang, Sausbildung 3/5 - Jahresgruppe. www.oberton.org 13.03.2010 - 14.03.2010 - (DE) München Matthias Privler - Grundkurs 1+2 Obertongesang, Studio Equilibrium, Erzgiessereistraße 48, 80335 München. www.obertonchor-muenchen.de 05.04.2010 - 11.04.2010 - () Wolfgang Saus, Steffen Schreyer - European Overtone Choir, Europa Obertonchor, tba. www.overtonechoir.eu 07.04.2010 - (A) Linz Egschiglen - Konzert, Bruckner Haus. www.albakultur.de 10.04.2010 - (DE) Roggenburg Egschiglen - Konzert, tbc. www.albakultur.de 07.05.2010 - 09.05.2010 - (DE) Kyllburg Wolfgang Saus - Ausbildung Obertongesang, Sausbildung 4/5 - Jahresgruppe. www.oberton.org 21.05.2010 - 23.01.2010 - (DE) Gersfeld Wolfgang Saus - Workshop, Intensivkurs Obertongesang, Rhön Akademie. www.oberton.org 24.05.2010 - 30.05.2010 - (TAIWAN) Taipei Huun Huur Tu - , tba w/ orchestra. www.jaro.de 18.06.2010 - 20.06.2010 - (DE) Kyllburg Wolfgang Saus - Ausbildung Obertongesang, Sausbildung 5/5 - Jahresgruppe. www.oberton.org 06.07.2010 - (MG) Mongolei Hosoo, Wolfgang Saus - Reise, Obertonstudienreise verschoben auf 2010. +49-241-8794664 www.oberton.org 15.08.2010 - (D) Boppart Huun Huur Tu - Konzert, Stadthalle. www.jaro.de 26.09.2010 - (USA) Richmond, IN Huun Huur Tu - Konzert, Earlham College. www.jaro.de Thanks to Wolfgang Saus - www.oberton.org Alle Angaben ohne Gewähr. This document is licensed under the Attribution 2.0 Germany license, available at www.creativecommons.org/licenses/by/2.0/de/.
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The Pure Nature of Music in Bad Essen

Posted by Jens Mügge on September 22, 2009 at 20:00

There are not so many Overtone Festivals in Europe. You can listen in Prague (Czech), Lund (Sweden), Schwaz (Austria), Dresden (Germany) and - in Barkhausen (Germany) - one day long various artists how they are singing overtones, harmonics and diphonic music. This year the event in Schwaz was cancelled. More than this the festival day in Barkhausen was very sucessful. Where is Barkhausen? It's in a beautiful landscape - the first mountain, if you are coming from the flat North Germany. For people from South Germany it seems to be the last hills on the way to the North Sea.
There - in the Wiehengebirge you can find a place in an old stone pit called Steinbruch an den Saurierspuren. You can find imprints from saurians there and to conserve these relicts from ancient times people built a hall with glass and iron over it - the sense if it: one of the best places for overtone concerts in nature without any booster amplifiers or stuff like that. Music in nature and pure nature music.

This year it was the Overtone Festival No. 5 - the opening by Weltenreiter was a fantastic start for this festival. Until yet I haven't found any video records from their concert.







Hans Ulijeman gave an impressive performance with a gong, some singing and crystal bowls, a dan moi and his overtone singing. A part of this performance is documentated in this video.




The next part was very lyrically and poetically: Lilith Eckholt, Kolja Simon und Gisbert Schürig gave a musical interpretation for some fairy tales from different cultures. Their program "Zwischen den Welten" was really a pure enjoyment. Here are some impressions of their performance:





Continue the program with Pan meets Daphne (Peter Bayreuther und Dieter Strothmann) with ...


Before Jan Heinke and Wolfgang Saus played the duo motion with a fantastic performance. Thanks to Jan Meenken and Detlef Sellenriek that I could add this video to vimeo.

motion (Johanna Geith www.openstringquartet.de & Willem Schulz www.willemschulz.de) live with the piece motion.


Each concert performance is a special highlight. If Jan Heinke and Wolfgang Saus playing together you can call it a highlight of an overtone performane. Both are brilliant musicians - together they are fulminant and more than this.


The last gig was with Transmongolia. I hope to find or get more stuff from this gig soon.

Really it is was a wonderful festival day - a day in overtone paradies.


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CD-Präsentation am 25. september 2009 in wien

Posted by Julia Renöckl on August 31, 2009 at 10:30
ERSTE RÜCKMELDUNGEN:Ich möchte mich bei Dir und auch bei Gerhard Narbeshuber sehr sehr herzlich für dieses wunderschöne Konzert bedanken! Auch mein Lebensgefährte war zutieft berührt und beeindruckt. Ich freue mich auf weitere Konzerte - bis dahin hören wir die wunderschöne CD.....Euer Konzert gestern war großartig. Die Kirche war ein optimaler Ort.--------------------------------------------------------------------------------------------------------------------------------------es ist soweit. unsere erste oberton-cd wird bald geboren.am 25. september wollen wir sie stolz im rahmen eines konzerts dem publikum präsentieren.wir hatten das glück, in der otto-wagner-kirche steinhof in wien (wunderschöne jugendstilkirche mit 6 sekunden hall) unsere aufnahme zu machen. dort findet auch das konzert statt.also: in den terminkalender eintragen!!!julia renöckl & gerhard narbeshuberobertongesang25.9.0919.30kirche steinhof (wien)baumgartner höheeintritt freicd-präsentationaus unserer cd in produktion:„Der ahnungslose Hörer möchte seinen Ohren nicht trauen: Da erhebt sich aus dem monotonen Gesang einer Stimme plötzlich eine zweite und entfaltet über dem unverändert anhaltenden Grundton eine melodische Linie, deren reine Klanglichkeit und Harmonik allem Irdischen entrückt zu sein scheint“, schreibt der deutsche Obertonsänger Michael Vetter – einer der Pioniere des westlichen Obertongesanges.Obertongesang ist die Kunst, zwei Töne gleichzeitig zu singen. Ein verblüffendes Phänomen, aber dabei bleibt es nicht – diese faszinierenden Klänge ziehen Menschen auf der ganzen Welt aus unterschiedlichen Gründen an: Obertöne wirken gleichzeitig entspannend und stimulierend, sie bereichern das Hören um eine neue Klangdimension, sie eröffnen Zugänge zur Musik fremder Kulturen, vor allem aber zieht ihre schlichte Schönheit in den Bann.Schließen Sie die Augen und lassen Sie sich verzaubern!Julia Renöcklwurde bereits im Gymnasium von ihrem Musikprofessor Walther Derschmidt mit dem Oberton-Virus infiziert. Nach dem Musikerziehung-Studium in Wien traf sie 2004 in Basel auf Christian Zehnder, der sie in die Geheimnisse der europäischen Obertongesangstechniken einweihte. Sie belegte Kurse bei Michael Vetter, Wolfgang Saus und Okna Zahan Zam. Mehrmals war sie Assistentin von Christian Zehnder (www.zehndermusic.ch) und Wolfgang Saus (www.oberton.org). Ihre Recherchen über die Vermittlung von Obertongesang in Europa führten sie auch zu Tran Quang Hai, Catherine Dabord, David Hykes, Iégor Reznikoff und Dominique Bertrand. Seit 2005 gibt sie selbst Obertongesangsunterricht im In- und Ausland.Gerhard Narbeshuberkam erstmals während einer Reise in die Mongolei 2004 mit Obertongesang in Kontakt. Bald darauf nahm er an einem Seminar des deutschen Obertonkünstlers Wolfgang Saus teil. Gesangsunterricht und weitere Seminare bei Christian Zehnder und Iégor Reznikoff folgten. Die aus Tuva stammende Künstlerin Sainkho Namchylak unterrichtete ihn in den mongolischen Gesangstechniken Khöömei, Sygyt und Khargyraa.Seit 2008 künstlerische Zusammenarbeit mit Julia Renöckl.
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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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Tran Quang Hai & Denis Guillou : Original Research and Acoustical Analysis in connection with the Xöömij Style of Biphonic Singing

Posted by Tran Quang Hai on August 28, 2009 at 23:43
Original Research and Acoustical Analysis in connectionwith the Xöömij Style of Biphonic SingingTran Quang Hai , Centre National de la Recherche Scientitique, Paris 1980Denis GUILLOU, Conservatoire. National des Arts et Métiers, ParisThe present article is limited in its scope to our own original research and to acoustical analysis of biphonic singing, this is preceded by a summary of the various terms proposed by different researchers. The first half the article concerning xöömij technique was written by Tran Quang Hai. Guillou has written the second half concerning acoustical analysis.Until the present time it has not been possible to confirm that the centre, of biphonic singing within Turco‑Mongol culture is in fact Mongolia. Biphonic singing is also employed by neighbouring peoples such as the Tuvins (Touvins), Oirats, Khakass, Gorno‑Altais and Baschkirs; it is called kai by the Altais, uzliau by the Baschkirs, and the Tuvins possess four different styles called, sygyt, borbannadyr, ezengileer and kargyraa. A considerable amount of research is at present being carried out throughout the world into this vocal phenomenon, particularly as it is practised in Mongolia.Research can be carried out in various ways: by means of observation of native performers after one or more visits to the country concerned, or by means of practical instrumental or vocal studies aimed at a better understanding of the musical structure employed by the population being studied. My own research does not belong to either of these two categories since I have never been to Mongolia and I have never learned the xöömij style of biphonic singing from a Mongolian teacher. What 1 shall describe in this article is the result of my own experience which will enable anybody to produce two simultaneous sounds similar to Mongolian biphonic singing.DefinitionSimultaneous two‑part singing by a single person is known in the Mongol language as xöömij (liter­ally "pharynx"). The manner in which the Mongol word is transcribed is by no means uniform; ho­mi, ho‑mi, (Vargyas 1968), khomi, khöömii, (Bosson 1964: 11), xomej, chöömej, (Aksenov 1964) chöömij, (Vietze 1969:15‑16. Walcott 1974) xöömij, (Hamayon 1973). French researchers have used other terms to describe this particular vocal technique such as chant biphonique or diphonique (Leipp 1971, Tran Quang Hai 1974). voix guimbarde. voix dédoublee (Heitfer 1973, Hamayon 1973), and chant diphonique solo (Marcel‑Dubois 1979). Several terms exist in English such as split‑tone sing­ing, throat singing and overtone singing, and in German sweistimmigen Sologesang.For convenience 1 have employed in this article the term biphonic singing to describe a style of singing realized by a single person producing simultaneously a continuous drone and another sound at a higher pitch issuing from a series of partials or harmonies resembling the sound of the flute.Origin of My ResearchIn 1971, the date of my first contact with Mongolian music in the form of recordings made in Mongolia between 1967 and 1970 by Mrs. Roberte Hamayon, researcher at the Centre National de la Rech­erche Scientifique and especially after listening to a tape on which were recorded three pieces in the biphonic singing style, I was struck by the extraordinary and unique nature of this vocal technique.For several months I carried out bibliographical research into articles concerned with this style of singing with the aim of obtaining information on the practice of biphonic singing, but received little satisfaction. Explanations of a merely theoretical and sometimes ambiguous nature did nothing so much as to create and increase the confusion with which my research was surrounded. In spite of my complete ignorance of the training methods for biphonic singing practised by the Mongols, the Tuvins and other peoples, I was not in the least discouraged by the negative results at the beginning of my studies after even several months of effort.Working ConditionsAccording to Hamayon, the xöömij, which exists throughout Mongolia but is gradually dying out, is practised exclusively by men. It represents an imitation, by means of a single voice of two instruments, the flute and the Jew's harp.The xöömij refers to the simultaneous production of two sounds, one similar to the fundamental produced on the Jew's harp (produced at the back of the throat), and the other resulting from a modifi­cation of the buccal cavity without moving the lips which remain only slightly open; positioning the lips as for a rear vowel results in a low sound, whereas front vowel positioning produces a high sound (Hamayon 1973), a technique similar to that used by the Tuvins (Aksenov 1964). The cheeks are tightened to such a degree that the singer breaks out into a sweat. It is the position of the tongue which determines the melody. Anybody who possesses this technique is able to copy any tune (Hamayon 1973).1 worked entirely alone groping my way through the dark for two yews, listening frequently to the recordings made by Hamayon stored in the sound archives of the ethnomusicology department of the Musee de I'Homme. My efforts were however to no avail. Despite my efforts and knowledge of Jew’s harp technique, the initial work was both difficult and discouraging. 1 also tried to whistle while producing a low sound as a drone. However, checking on a sonograph showed that this was not similar to the xöömij technique. At the end of 1972 I got to the stage that I was able to produce a very weak harmonic tone which when recorded on tape, showed that 1 was still a long way from my goal.Then, one day in November 1973, in order to calm my nerves in the appalling traffic congestion of Paris, I happened to make my vocal chords vibrate in the pharynx with my mouth half open while ­reciting the alphabet. When I arrived at the letter L and the tip of my tongue was about to touch the top of my mouth, I suddenly heard a pure harmonic tone, clear and powerful. I repeated the operation several times and each time I obtained the same result. I then tried to modify the position of the tongue in relation to the foot of the mouth while maintaining the low fundamental. A series of partials resonated in disorder inside my ears.At the beginning I obtained the harmonics of a perfect chord. Slowly but surely, after a week of inten­sive work, by changing the fundamental tone upwards or downwards, 1 had managed to discover all by myself a vocal jaw's harp technique or biphonic singing style which appeared to be similar to that used by the Mongols and the Tuvins.Basic TechniquesAfter two months of research and numerous experiments of all kinds I was able to establish some of the basic rules for the realization of what I call biphonic singing.1) Half open the mouth.2) Emit a natural sound on the letter A without forcing the voice and remaining in the middle part of the vocal range (between F and A below middle C for men, and between F and A above middle C for women).3) Intensify the vocal production while vibrating the vocal chords.4) Force out the breath and hold it for as long as possible.5) Produce the letter L. Maintain the position with the tip of the tongue touching the roof of the mouth.6) Intensify the tonal volume while trying to keep the tongue stuck firmly against the palate in order to divide the mouth into two cavities, one at the back and one at the front, so that the air column increases in volume through the mouth and the nose.7) Slowly pronounce the sounds represented by the phonetic signs "i" anti “u” while varying the position of the lips.8) Modify the buccal cavity by changing the position of the tongue inside the mouth without inter­rupting orchanging the height of the fundamental already amplified by the vibration of the vocal chords.9) In this way it is possible to obtain both the drone arid the partials or harmonics either in ascending or descending order according to the desire of the singer.For beginners the harmonics of the perfect chord (C. E. G. C) are easy to obtain. However, a considerable amount of hard work is necessary especially to obtain a pentatonic anhemitonic scale. Every person has his favourite note which permits him to produce a large range of partials. This favourite funda­mental tone varies according to the tonal quality of the singer's voice and his windpipe. It often happens that two people using the same fundamental tone do riot necessarily obtain the same series of partials.Regular practice and the application of the basic techniques which 1 have just described above per­mitted me to acquire a range of between an eleventh and a thirteenth according to the choice of the drone. Biphonic singing can also be practised by women and children, and several successful exper­iments have been carried out in this connection.Other experiments which I have been carrying out recently indicate that it is possible to obtain two simultaneous sounds in two other ways. In the first method, the tongue may be either flat or slightly curved without actually at any stage touching the root of the mouth, and only the mouth and the lips move. Through such variation of the buccal cavity, this time divided into a single cavity it is possible to hear the partials faintly.In the second method the basic technique described above is used. However instead of keeping the mouth half open it is kept almost completely shut with the lips pulled back and very tight. To make the partials audible, the position of the lips is varied at the same time as that of the tongue. The partials are very clear and distinctive, but the technique is rather exhausting and it is not possible to sing for a long time using it.In the northeast of Mongolia in the borderland area between Mongolia and Siberia live the Tuvins, a people of Turkish origin numbering one hundred thousand. The Tuvins possess not only the biphonic singing style used by the Mongols, but four other different styles within this genre, called svgyt, ezengileer. kargyraa and borbannadyr. Table 1 will facilitate comparison between these four styles.Biphonic singing is also practised by a number of ethnic groups in the republics of the Soviet Union bordering on Mongolia.The late John Levy made a recording in Rajasthan in 1967 on which can be heard an example of biphonic singing similar to that practised by the Mongols and the Tuvins (1). The virtuoso performer in the recording imitates the double flute called the satara (an instrument producing simultaneously a drone and a melody) or the Jew's harp with his voice. However, this may well be an exceptional ex­ample in that no mention is ever made of biphonic singing techniques in the musical traditions of Rajasthan or elsewhere in India.Tibetan monks, particularly those in the monasteries of Gyume and Gyuto(2), make use of a technique using two simultaneous voices, although this technique is far less developed than that used by the Mongols and the Tuvins. The low register of the drone makes it impossible to produce harmonics as clear and resonant as those emitted by the Mongols and the Tuvins, and furthermore the production of harmonics is not the aim of Tibetan Buddhist chant.In Western contemporary music groups of singers have also succeeded in emitting two voices at the same time and vocal pieces have been created in the context of avant‑garde music (3) and in recent years of electronic music (4).An X-ray film was mode for the first time in 1974 at the Centre Medico‑chirurgical of the Porte do Choisy in Paris at the request of Professor S. Borel‑Maisonny, speech therapist and of Professor Emile Leipp, acoustician. This film which was made with the cooperation of the present author made it possible to examine closely the internal functioning and placement of the tongue during biphonic singing, and was thus of great interest. Thanks to this film the author has improved his biphonic singing technique as a result of which he has been able to decrease the volume of the drone and in­crease that of the harmonics.Table 1 Characteristics of the biphonic singing styles of the Tuvinssygyt ezengileer kargyraa borbannadyrPitch of Changes in the No change No change, No changethe drone or course of singing although sometimesfundamental lowered by a minorthirdTonality More intense and Same as sygyt low Softhigher than that ofthe kargyraa stylePosition Half open Half open Half open Almost closedof tilemouthHarmonics 8, 9, 10 for uneven (6), 8, 9, 10, (6), 8,.9, 10,11.2 6, 7, 8, 9,10, 12.or partials verses 11, 12,13 138, 9, 10, 12 foreven versesSpecial ‑Harmonics used ‑Alternation of ‑Each vowel ‑Occasionallyfeatures as an ostinato strong and weak corresponds to a three voices withaccompaniment. accents like a partial two used as athus resulting in a gallop rhythm ‑Psalmodic drone: tonic andnarrow range recitation with or fifth (in exceptional‑in the course of without special cases) and thirda. song, at the end text on 2 pitches voice producingof each phrase a or drone in 2 harmonicsnote is held 1 positions rising and ‑Called khomei in(fundamental for descending by a certain areas,uneven verses, or a minor thirddescending tone ‑Called borban­for even verses) nadrt in caseswhen the borban­nadyr is namedkhomeiAcoustical Analysis‑introductionThe present study is concerned with biphonic singing its understanding and interpretation, and does not constitute a complete and definitive piece of research. In fact the discovery of certain phenomena permits us only to imagine what might be the reality, this being particularly true in relation to the mechanism involved in the production of biphonic singing. Thus it will be necessary to carry out further research in the following areas: psycho ‑acoustics and particularly the perception of pitch and phonatory acoustics.Biphonic singing differs from so‑called natural singing on account of its sonority as well as of course the vocal technique involved. As its name indicates it consists of two sounds. On the basis of simple aural observation, it is possible to distinguish a first sound whose pitch is constant and which we shall call the drone and a second sound which takes the form of a melody which the singer can produce at will. It is basically possible for anybody to produce this biphonic sonority but to make the second voice dominate and to trace a melody with it depends upon the talent of the artist.Firstly, we shall examine the concept of pitch perception in terms of acoustics and psycho‑acoustics. Secondly we shall try to define biphonic singing, to differentiate it from other vocal techniques and to specify its scope. It will then be worthwhile to formulate several hypotheses concerning the mechanism whereby this style of singing is produced and finally to present a few examples of such a technique.Pitch PerceptionIt is first of all necessary to comprehend exactly what is meant by the pitch of sounds or tonality. This concept presents a considerable amount of ambiguity and does not correspond to the simple principle of the measurement of the frequencies produced. The pitch of sounds is related more to psycho-­acoustics than to physics.Our own proposals are based partially on the recent discoveries of certain researchers, and partially on observations which we have made ourselves with the help of a sonagraph machine.The sonagraph makes it possible for us to obtain the image of the sound which we wish to study. On a single piece of paper is given information concerning time and frequency, and, in accordance with the thickness of the line traced information concerning intensity.The classical manuals on acoustics tell us that the pitch of harmonic sounds, that is sounds with, for example a fundamental with the frequency F and a series of harmonic, F1, F2. F3.... multiples of F. is determined by the frequency of the first fundamental F. This is not entirely correct in that it is possible to suppress electronically this fundamental without thereby changing the subjective pitch of the actually perceived sound. If this theory were correct an electro‑acoustic chain not reproducing the lowest sound would change the pitch of the sounds. This is evidently not the case since the tonal quality changes but not the pitch. Certain researchers have proposed a theory which would appear to be more coherent: the pitch of sounds is determined by the separation of the harmonic lines or the difference in frequency between two harmonic lines. What is the pitch of the sounds, in this case for sonic spectra with “partials" (harmonics are not complete multiples of the fundamental)? In this case, the individual perceives an average of the separation of the lines in the zone which interests him. This in fact corresponds with the differences in perception which may be observed from one individual to the other (Fig. 1).Fig. 1 Sonagram representation of three types of sounda) Harmonic spectrum: the harmonics are whole multiples of the fundamental.b) Partials spectrum: the harmonics are no longer whole multiples of the fundamental.c) Formant spectrum: two harmonics are intense and constitute a formant in the harmonic spectrum.Formant spectrum: the accentuation in intensity of a group of harmonics constitutes a formant and is thus a zone of frequencies in which there is a large amount of energy.Taking this formant into consideration a second concept of the perception of pitch comes to light. It has in effect been established that the position of the formant in the sonic spectrum results in the perception of a new pitch. In this case it is no longer a matter of the separation of the harmonic lines in the formant zone but of the position of the formant in the spectrum. This theory should be qualified however, since conditions also have to be considered.Experiment: Tran Quang Hai sang two C's an octave apart making his voice carry as if he were addressing a large audience. We observed, using a sonagram, that the maximum energy was situated in the zone perceptible by the human car (3, 4 KHz) and that the formant was situated between 2 and 4 KHz. We then recorded two C's an octave apart in the same tonality, but this time he used his voice as it addressing a small audience, and we observed the disappearance of this formant (Fig. 2‑a. 2‑b).In this case the disappearance of the formant does not change the pitch of the sounds. We then rapidly observed that the perception of pitch through the position of the formant was only possible it the formant was very acute for knowing that the sonic energy was only divided on two or three harmonics. Thus if the energy density of the formant is large and the formant is narrow the formant gives in­formation concerning the pitch as well as the overall tonality of the sonic item. Through this expedient we arrive at the biphonic vocal technique.Fig. 4 Normal singing and biphonic singinga) Sonagraph representation of normal singing. An octave passage is equivalent to a doubling of the gap between the harmonic lines and to a drone of double frequency, (The first bar repre­sents the base line of the sonagram, and the drone is represented by the second bar.)b) Sonagraph representation of biphonic singing. An octave passage is represented by a displace­ment of the formant. The harmonic lines of the formant are displaced in a zone in which the frequency is doubled.Comparison between Biphonic Technique and Classical TechniqueIt may be said that biphonic singing consists as its name indicates, of the production of two sounds, one a drone which is low and constant, and the other at a higher pitch consisting of a formant which displaces itself in the spectrum in order to produce a certain melody. The concept of pitch given by the second voice is moreover somewhat ambiguous. The Western ear may need a certain amount of training before becoming accustomed to the sound quality.Evidence concerning the drone is relatively easy to obtain thanks to the sonagram: it can be seen clearly and is also very clear on an auditory level. The device in Fig. 3 also makes it possible to see a pure amplitude frequency of a constant nature.Fig. 3. Device for providing evidence of perfect constancy of the drone in intensity and frequency.After having examined the fundamental tone we compared two spectra, one of biphonic singing and the other of the so‑called classical singing style, the two being produced by the same singer. The sonagrams of these two types of singing are shown in Fig. 4. Classical singing is characterized by a doubling of the separation of the harmonic lines when an octave is exceeded (a). Biphonic singing is characterized on the other hand by the fact that the separation of the lines remains constant (this was foreseeable since the drone is constant), and that the formant is displaced by an octave (b). In fact it is easy to measure the distance between the lines for each sound. In this case, the perception of the melody in biphonic singing works through the expedient of the displacement of the formant in the sonic spectrum.It should be stressed that this is only really possible if the formant is high, and this is obviously so in the case of biphonic singing. The sonic energy is divided principally between the drone and the second voice consisting of two or at the most three harmonics.It has sometimes been stated that it is possible to produce a third voice. Using the sonagrarn we have in actual fact established that this third voice exists (see sonograms of Tuvin techniques), but it is impossible to state that it can be controlled. In our opinion this additional voice results more from the personality of the performer than from any particular technique.As a result of our work we have been able to establish a parallel between biphonic singing and the technique of the Jew’s harp. As in the case of biphonic singing the Jew's harp produces several different voices, the drone, the main melody and a counter melody. We may consider this third voice as a counter melody which may be produced on a conscious level but can presumably not be controlled.As far as possibility of variation is concerned, biphonic singing is the same as normal singing except in connection with pitch range.The time of execution is evidently a function of the thoracic cage of the singer and thus of breathing, since the intensity is related to the output of air. Possibility of variation with regard to intensity is on the other hand relatively restricted and the level of the harmonics is connected to the level of the drone. The singer has to try and retain a suitable drone and produce the harmonics as strongly as possible. We have already observed that the clearer the harmonics the more the formant is narrow and intense. We are able furthermore to observe connections between intensity, time and clarity. Possibility of variation in relation to tone quality may pass without comment, since the resulting sound is in the majority of cases formed from a drone and one or two harmonics. The most interesting question is that of pitch range.It is generally accepted that, for a sensible tonality (in consideration of the performer and of the piece to be performed a singer may modulate or choose between harmonics 5 and 13. This is true but should be stated more precisely. The range is a function of the tonality. If the tonality is on C2, the range represents nine harmonics from the fifth to the thirteenth, this involving a range of a major thirteenth. If the tonality is raised for example to C3 the choice is made between six harmonics, numbers 3 to 8 (see Table 2), representing an interval of an seventh. The following remarks should be made in this context. Firstly, the pitch range of biphonic singing is more restricted than that of normal singing. Secondly, the singer theoretically selects the tonality which he wishes between C2 and C3. In practice however, he instinctively produces a compromise between the clarity of the second voice and the pitch range of his singing, since the choice of the tonality is also a function of the musical piece to be performed. Thus if the tonality is raised, for example to C3, the choice of harmonics is restricted but the second voice is very clear. In the case of a tonality on C2 the second voice is more indistinct while the pitch range is at a maximum. The clarity of the sounds can be explained by the fact that in the first case, the singer is only able to select a single harmonic, whereas in the second case, he may select almost two (see Fig.5). As far as pitch range is concerned, it is known that the movement of the buccal resonators is independent of the tonality of the sounds produced by the vocal chords, or, put in another way. The singer always selects harmonics in the same zone of the spectrum whether the harmonics are broad or narrow.It results from all this that the singer chooses the tonality instinctively in order to have the maximum range and clarity. For Tran Quang Hai, the best compromise exists between C2 and A2. He can thus obtain a range of between an octave and a thirteenth.Mechanism for the Production of Biphonic SingingIt is always very difficult to know what is taking place inside a machine when we are placed outside it and can only watch it in operation. This is the case with the phonatory mechanism. The following remarks are only approximate and of a schematic nature and should not be assumed to be the final word on the subject. In dealing by analogy with the phonatory system we can get an idea of the mech­anisms but surely not a complete explanation. Fig. 6 is a representation of the phonatory system which can be compared with Fig. 7, showing an excitation system producing harmonic sounds and a series of resonating systems amplifying certain parts of this spectrum.A resonator is a cavity equipped with a neck capable of resonating in a certain range of frequencies. The excitation system, i.e., the pharynx and the vocal chords emits a harmonic spectrum consisting of the frequencies F1, F2. F3. F4 ... of resonators which select certain frequencies and amplify them. The choice of these frequencies evidently depends upon the ability of the singer. This is the case when a singer projects his voice within a large hail in that he instinctively adapts his resonators in order to produce the maximum energy within the area in which the ear is sensitive.It should be noted that the amplified frequencies are a function of the volume of the cavity, the section of the opening and the length of the neck constituting the opening:Through this principle it is possible to see already the action of the size of the buccal cavity, of the opening of the mouth, and of the position of the lips during singing.However, this does not tell us anything about biphonic singing. In practice we need two voices. The first, the drone, is given to us simply by virtue of the fact that its production is intense, and that in any case, it does not undergo filtering by the resonators. Its intensity, higher than that of the harmonics, permits it to survive on account of buccal and nasal diffusion. We have observed that as the nasal cavity was closed, so the drone diminished in intensity. This occurs for two reasons, firstly that a source of diffusion is closed through the nose and secondly, by closing the nose the flow of air is reduced, as is the sonic intensity produced at the level of the vocal chords.The possession of several cavities is of prime importance. In practice, we have established that only coupling between several cavities has enabled us to have a sharp formant such as is required by biphonic singing.For the purposes of this research we initially carried out investigations into the principle of resonators in order to determine the influence of the fundamental parameters. It was observed that the tonality of the sound rises if the mouth is opened wider. In order to investigate the formation of a sharp formant, we carried out the following experiment. Tran Quang Hai produced two kinds of biphonic singing, one with the tongue at rest. i.e., not dividing the mouth into two cavities and the other with the mouth divided into two cavities. The observation which we made is as follows (an observation which could have been foreseen on the basis of the theory of coupled resonators). In the first case the sounds were not clear: the drone could be heard distinctly but the second voice was difficult to bear. There was no clear distinction between the two voices, and, furthermore, the melody was indistinct. The cor­responding sonagrams bore this out: with a single buccal cavity the energy of the formant is dispersed over three or four harmonics and so the sense of a second voice is very much on the weak side. On the other hand, when the tongue divides the mouth into two cavities, the formant reappears in a sharp and intense manner. In other words, the harmonic sounds produced by the vocal chords are filtered and amplified in a rough manner with a single buccal cavity and the biphonic effect disappears. Biphonic singing thus necessitates a network of very selective resonators which filters only the harmonics required by the singer. Fig. 8 shows the responses in frequencies of the resonators, both simple and coupled. In the case of a tight coupling between the two cavities, these produce a single and very sharp resonance. If the coupling is loose, the formant has less intensity and the sonic energy in the spectrum is stemmed. If the cavities are transformed into a single cavity, the pointed curvebecomes even rounder, and one ends up with the first example with a very blurred type of biphonic singing (tongue at rest). The conclusion can be drawn that the mouth along with the position of the tongue plays the major role, and it can be compared roughly to a pointed filter which changes its place in the spectrum with the sole aim of selecting the interesting harmonics.We should like to express our gratitude and sincere thanks to Research Team 165 of the Centre Na­tional de la Recherche Scientifique directed by Mr. Gilbert Rouget, who allowed us access to valuable documents concerning biphonic singing stored in the sound archives of his department. Our thanks go also to Professor Claudie Marcel‑Dubois, Head of the Department of Ethnomusicology at tile Musee National des Arts et Traditions Populaires, who gave us a great deal of help and encourage­ment. We should like also to thank Professor Emile Leipp, Dr. Michele Castellango and Professor Solange Borel‑Maisonny, who made it possible for us to examine the internal functioning of biphonic singing by means of the production of a radiographic film.(Translated from French by Robin THOMPSON)NOTES1. This tape is preserved in the Ethnomusicology Department of the Musee de L’Homnic. Paris. Archivenumber BM 78 2, 1.2. See the record “The Music of Tibet." recorded by Peter Crossley‑Holland, Anthology Records (30133)AST 4005, New York, 1970.3. See the record “The tail of the Tiger.” Ananda 2.4. An example is the electronic music composition entitled “Ve nguon” (Return to the Source), composedby Nquyen Van Tuong, with Tran Quang Hai as soloist. The first performance was given in France in1975. The third movement (25 minutes) uses biphonic singing.http://www.soundtransformations.btinternet.co.uk/tranquanghaiguillouacouticalanalysisxoomij.htm
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Here Again

Posted by RKiT (Tamas Arki) on August 21, 2009 at 12:07
Dear Everyone,I'd like to thank all of You who visited my profile, left a comment, rated a song or just looked at the pictures or read the blog. I've been away for a long time but I'm back and I have to say I'm blown away by the improvements I see on OMN.I also would like to let you know that You can download my album song by song for free on http://www.myspace.com/rkitmusic .Have a listen, make a comment, enjoy the world that surrounds you!Bless,Tamas Arki (RKiT)
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New netlabel release on Stasisfield: Elementals

Posted by Dave Seidel on August 10, 2009 at 15:21
I am very happy to announce a new release called "Elementals" on the Stasisfield netlabel. John Kannenberg has done the beautiful job of design, packaging and presentation that Statisfield followers have come to expect, and I am grateful to part of his roster.In John's words:"Peterborough, New Hampshire's Dave Seidel offers a microtonal ode to the four primal elements. Water, fire, earth and air are represented here by elegant synthetic sounds and digitally manipulated field recordings. Working primarily in Csound, Seidel sculpts swathing drones and digital flutters into monolithic representations of his natural subjects. Technicians will undoubtedly consult Seidel's notes included in the album's digital packaging as well as the more extensive essays on his personal website for details of these tracks' construction, while aesthetes will simply lose themselves in their overwhelming beauty."http://www.stasisfield.com/releases/year07/sf-7004.html
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