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Auf der Suche nach dem Ursprung der Obertöne (A Quest for the Origin of Harmonics) - (documentary film)
Teaser "Raum Klang Stimme" (English)
CONTENT
Harmonic proportions are a phenomena occurring everywhere in nature, from the growth of a plant to cosmic gas clouds. The scale of the harmonics also apply to sound and can be made audible through the human voice.
Since the 1960s a singing technique, in which harmonics are made audible purposely, was discovered and used by a few musicians consciously and became popular under the name of ‘overtone singing’ or ‘harmonic chant’. Due to the rapidly growing interest, it was soon ‘discovered’ that many other cultures of the world already had a long tradition of overtone-singing: for example some tribes in Africa, South America and even Papua New Guinea. The most famous form is known from central Asia – Tuva and Mongolia, and there it is called ‘Höömii’, Throatsinging.
This film documentation, portraying seven musicians, deals with the topic of ‘overtone-singing’ and the harmonic proportions.
With:
David Hykes
Christian Bollmann
Wolfgang Saus
Danny Wetzels
Hosoo & Transmongolia
Jill Purce
Mark van Tongeren
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.
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.
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 melodic
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.
In libreria da settembre 2009 oppure richiedendolo direttamente a: www.minervaedizioni.com
Tel. 051 6630557 - Fax 051 897420 info@minervaedizioni.com
“….la costante che si evidenzia, è che in qualsiasi contesto l’uso della voce è fortemente diretto e influenzato dall’emozione che il soggetto prova o crede di provare in quel momento. Ne risulta che, una gestione corretta della componente emozionale, sia una prerogativa indispensabile per un uso efficiente ed efficace della voce, in qualsiasi contesto venga preso in considerazione.” La voce è universalmente riconosciuta come strumento di espressione, comunicazione e relazione. In questo libro i due autori, partendo da esperienze e modelli differenti, trovano un terreno comune, quello emozionale, dove portare alla luce le loro convinzioni, strategie e tecniche sull’utilizzo della voce in diversi contesti: artistico, professionale, relazionale, terapeutico e spirituale.
Non un manuale, ma un percorso attraverso lo strumento voce, fatto di analisi, considerazioni, scoperte , suggerimenti ed indicazioni per considerarla da un nuovo punto di vista. Questa visione suggerisce un percorso per trasformare la voce in un formidabile strumento terapeutico di indagine personale e di crescita interiore, consentendo così una più autentica e profonda espressione del Sé.
Lorenzo Pierobon-Veronica Vismara
PREFAZIONE
La ricerca sull’influenza che la postura riveste nell’evoluzione dell’essere umano è il filo conduttore del mio cammino di crescita professionale e personale, percorsi strettamente interdipendenti.Medico ortopedico fisiatra mi ha appassionato fin dall’Università l’ascolto dell’uomo come unità inscindibile di anima-mente-corpo. Ogni relazione è ascolto, ascolto di sé, ascolto dell’altro perché in ogni relazione il linguaggio è vocale e corporeo. Anche nel bambino voce, linguaggio ed evoluzione psicomotoria e posturale sono interdipendenti. Il bambino acquisisce la posizione assisa con la lallazione, il cammino con il linguaggio. L’uomo è tale perché desidera comunicare e la comunicazione implica il vivere il corpo come nostro strumento musicale, la voce come nostra musica. Inevitabilmente la mia ricerca sulla postura è avanzata parallelamente alla ricerca sulla voce.Come la voce è l’es, la parte femminile inconscia, l’emozione, così il linguaggio rappresenta la parte maschile, di relazione, la voce della materia.Il linguaggio si imprime come uno stampo su quella materia.Con Veronica Vismara ho condiviso ricerche approfondite riguardo la relazione fra occlusione, muscolatura periorale e postura; con Lorenzo Pierobon un vissuto esperienziale del legame voce-postura. In questo libro spaziano approfondendo i molteplici aspetti della voce e del canto, dalle basi neurofisiologiche del controllo vocale alla complessità dell’ascolto. Ascolto che passa dalla rieducazione della voce e della postura, per arrivare a riabitare il corpo e integrarlo finalmente come strumento del nostro essere nel mondo.
Laura Bertelè
INDICE
Introduzione
La voce, un modello olografico
Suono come nutrimento di corpo e anima
Effetti del suono
Dieta Sonora
Igiene Sonora
Nutrimento Sonoro
La voce che nutre
L’ascolto profondo
Dall’ascolto profondo all’ emissione vocale
Sperimentazione n°2
Voce: il primo strumento
La risonanza nella voce
Fenomenologia della Risonanza
La voce negata
Lo strano caso di H. “la signora che perdeva la voce”
Voce e stati interni :psicosomatica del comportamento vocale
Una lettura metaforica dell’universo vocale
Faringe
Mal di Gola (senza infiammazione)
Mal di gola con infiammazione (faringite)
Laringe
Afonia o assenza di voce
Voce flebile
Voce infantile
Voce tremante
Voce stridula
Voce rauca
Voce in testa
Mancato controllo del volume di emissione
Reflusso Gastro-Esofageo. (GERD)
Igiene della voce
RIMEDI NATURALI PER LA VOCE
Omeopatia
Omotossicologia
Fitoterapia
Oligoelementi
Fiori di Bach
Voce, postura e verticalità
Evoluzione del linguaggio e postura
La verticalità nella voce
Rieducazione Funzionale del cavo orale(RFCO)®
Funzione ed estetica della voce
La voce nella relazione terapeutica
Caratteristiche
Intenzionalità e direzionalità
La voce come strumento terapeutico
Utilizzare la voce secondo il modello P.N.L.
La luce nella voce
Programmazione neuro linguistica e acuità sensoriale
Presupposti fondamentali della PNL
Sistema rappresentazionale principale (SRP)
Respirazione , tono e timbro
Acuità sensoriale
Capacità di ascolto e autoascolto
Convinzioni limitanti
Capacità comunicative e congruenza della voce
Oltre la congruenza:voce e autenticità
Gestione delle emozioni nei processi espressivi: ancoraggio
La voce come mezzo espressivo del sé
Vocal Harmonics in Motion
Il potere della voce
Origine del metodo
Canto armonico e intervalli musicali
Descrizione del metodo
Il modello teorico e la sua origine
Identità vocale
Estasi, trance, regressione attraverso la voce
L’io espanso, campi di relazione , la matrice
Effetti psico-fisici
Aree e modalità di applicazione
Estratti di metodologia
Sperimentazione N° 5
L’accumulatore vibrazionale
Voce ed evoluzione personale: un percorso possibile
Un percorso iniziatico verso l’integrazione dell’energia maschile e femminile
La cattedrale sonora
BIBLIOGRAFIA
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. 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.
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.
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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
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.
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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.
