Monthly Archives: March 2021

Sorhugtani Behi hatan with khoomii singer Lkhamragchaa

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Sorhugtani Behi hatan with khoomii singer Lkhamragchaa

15,524 views•Premiered Jan 16, 20212K11ShareSaveBatzorig Vaanchig 182K subscribers Composed by Batzorig Vaanchig Sorhugtani Behi hatan with khoomii singer LkhamragchaaСорхугтани Бэхи хатны магтаал

Le khöömii, chant diphonique de Mongolie, par Johanni Curtet.

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Le khöömii, chant diphonique de Mongolie, par Johanni Curtet.

2,912 views•Jul 4, 2018250ShareSaveMédiathèque Musicale de Paris 620 subscribers La médiathèque en partenariat avec les associations Ethnomusika et Routes nomades proposaient le 13 février 2018, une conférence sur le khöömii, chant diphonique de Mongolie grâce à l’ethnomusicologue, Johanni Curtet. Une introduction et démonstration pour appréhender cette technique vocale dans une perspective mongole, à travers la découverte du disque “Une Anthologie du khöömii mongol (Routes Nomades/Buda Musique 2017)”. Johanni Curtet, ethnomusicologue, musicien, diphoneur, chercheur associé EA 1279 Histoire et critique des arts, Université Rennes 2. Directeur artistique de Routes Nomades. À la rencontre du chant diphonique en Mongolie, Johanni Curtet a dû appréhender d’autres conceptions de la transmission, voire d’autres perceptions de l’acte musical que celles portées par sa culture occidentale. Dans une sorte « d’épistémologie humaine », il présentera une vision de sa place de jeune ethnomusicologue, lui même musicien et transmetteur du chant diphonique, dans cette réalité mongole. Il s’appuie sur des vidéos et des enregistrements sonores décrivant, parfois avec humour et distanciation, les réalités culturelles et musicales de Mongolie et son intégration dans ce monde. En partenariat avec Ethnomusika http://publika.ethnomusika.org/​ et Routes nomades https://www.routesnomades.fr/

Khuurkhun Khaliun by Batzorig Vaanchig

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Khuurkhun Khaliun by Batzorig Vaanchig

25,194 views•Premiered Dec 18, 20202.6K5ShareSaveBatzorig Vaanchig 181K subscribers Khuurkhun khaliun is a Mongolian long song about a parent’s message to their children who are away from home. The song also illustrates to love their horses and to have patience in life. It is a ‘besreg’ long song. Besreg way of singing is with short verses, refrains, and melodic courses full of leaps and bounds. Lyrics phonetically: Khöörkhön khaliun Khöörkhön khaliun dolgin shüü Khöld ni üilchilgee bariarai Khünii gazar khetsüü shüü Khüleen baij dasaarai Khachin khaliun dolgin shüü Khazaaryg ni tataj mordooroi Khariin gazar khetsüü shüü Khairlan baij bolno Nariin khaliun dolgin shüü Nalaskhiigeed mordooroi Nasny baga ni genen shüü Nairsag khariltsaj yavaarai Lyrics in Mongolian: Хөөрхөн халиун Хөөрхөн халиун долгин шүү Хөлд нь сууж бариарай Хүний газар хэцүү шүү Хүлээн байж дасаарай Хачин халиун долгин шүү Хазаарыг нь татаж мордоорой Харийн газар хэцүү шүү Хайрлан байж дасаарай Нарийн халиун долгин шүү Наласхийгээд мордоорой Насны бага нь гэнэн шүү Найрсаг харилцаж яваарай

Hunnu Empire by Batzorig Vaanchig

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Hunnu Empire by Batzorig Vaanchig

164,833 views•Premiered Oct 9, 202010K39ShareSaveBatzorig Vaanchig 181K subscribers Hunnu Empire is Batzorig Vaanchig’s original song. Music: Batzorig Vaanchig Lyrics: Batzorig Vaanchig Special thanks to: Mongolia Live. Lyrics: Хүннү гүрэн Төв азийн элэгнээс Дэлхийн талыг эзлэхдээ Хүлэг сайн морьдын туурайнд Тэнгэр газрыг ниргүүлж Энэ орчлон замбуутивийн Түүхийн хуудсыг эргүүлж Хүннү гүрний нүүдлийн цуваа Өдөр шөнөгүй хөвөрсөөр Тэнгис далайг гаталсаар Газрын холыг туулсаар Гол мөрнийг гэтэлсээр Улс гүрнийг эзэлсээр Empire of Hunnu When conquering the world From the heart of Asia When conquering half of the World From the heart of Asia Made the sky and earth thunder Under the hooves of great horses Made the pages of history Of this world turn Nomadic caravan of Hunnu Empire Travels day and night Crosses sea and ocean Travels over far distance Crosses the rivers Conquers kingdoms and states

How to Easily Throat Sing (Khoomei Style)

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How to Easily Throat Sing (Khoomei Style)

How to Easily Throat Sing (Khoomei Style)

2,251 views•Dec 27, 20202382ShareSaveHachapuri 1.75K subscribers Hello! =) It took me some time to make another video, but here it is!

I hope this video will be useful to you and if you have any questions, please ask me, I’ll try my best to give you a good answer!

The first parody scene of Matrix was really tricky to shoot and I messed up the audio because of some mistake. Of course, there is so much to tell you about these singing styles but I compressed the essential steps and delivered them in one short video. The intro music was done by ElectroKaplosion, check out his channel! https://www.youtube.com/user/ElectroK…​ Isgeree/Sygyt demonstration’s original video: https://www.youtube.com/watch?v=Mdd8a…​ Some of the background sounds in the video were taken from a website – Zapsplat.com My clones helped me out with shooting the video and punching me in the stomach

If you liked the content and if you wish to support this channel for further video, please do give this man a helping hand

Paypal: hachaburi999@gmail.com Bitcoin: 1ADx4AKFdSfawk8ZS9qKz4h3iTZjTFU4LX Ethereum: 0x33e22F604641F2D2e9d6A1F887fc9A3aC13fa065 Thank you for watching! I wish you the very best!

Batman

Catherine Darbord – Chant harmonique

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Catherine Darbord – Chant harmonique

45,106 views•Aug 31, 201016117ShareSaveCatherine Darbord 24.7K subscribers Le chant harmonique est une technique vocale d’Asie centrale qui permet à un seul chanteur d’émettre deux sons simultanés (un son de base stable et des harmoniques avec lesquelles on peut chanter une mélodie). Catherine Darbord enseigne cette technique sous forme de cours individuels ou ateliers à Montpellier, et de stages à la demande. SITE : http://www.vibrationwakanda.com​ Elle a produit un CD “Méthode d’apprentissage du Chant Harmonique” : http://mandalia-music.com/pages/metho…​ Images Jean-Luc Buro – Montage Filo (filosphere.com)

TRAN QUANG HAI: BIBLIOGRAPHY OF OVERTONE SINGING (2009)

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1Bi Bliography of overtone Singing (2009) by Tran Quang Hai

TRAN QUANG HAI

ABITBOL, J., 2005: L’Odyssée de la Voix, 516 p., Robert Laffont, Paris

ADACHI, S. and M. Yamada, 1997: “An Acoustical Study of Sound Production in Biphonic Singing, Xöömij,” Proceedings of 1997 Japan – China Joint Meeting on Musical Acoustics: 21-26, Tokyo.

AKSENOV, A.N., 1964: Tuvinskaja Narodnaja Muzyka, Moscou.- 1967: “Die Stile der Tuvinischen zweistimmigen Sologesanges”, Sowjetische Volkslied- und Volksmusikforschung: 293-308, Berlin.- 1973: “Tuvin Folk Music”, Journal of the Society for Asian Music 4(2): 7- 18.

BADRAA, Z., 1981: “Xöömij” i “Urtyn duu”, specificeskie Javienija Mongol’skoj tradicionnoj klassiceskoj muzyki”, Professional’naja Muzyka Ustoj Tradicij Narodov Bliznevo Vostoka i Sovremennost: 116-119, Tachkent.- 1986: “L’art Xöömij”, Les Nouvelles de Mongolie (9): 18-19, Mongol Press.

BARNETT, B. M., 1977 : “Aspects of Vocal Multiphonics”, Interface 6: 17-149.

BATZENGEL, 1978: “Urtyn duu, Xöömii and Morin Xuur”, Musical Voices of Asia: 52-53, Tokyo.

BELFER, R., 1986: “Chant harmonique: découvrer votre deuxième voix”, Médecines Douces (77): 50-53, Paris.

BLOOTHOOFT, G. et al., 1992: “Acoustics and Perception of Overtone Singing”, Journal of the Acoustical Society of America 4: 1827-1836

BOREL-MAISONNY S. et CASTELLENGO, M., 1976: “Etude radiographique des mouvements oro-pharyngée pendant la parole et le jeu instrumental”, Bulletin du Groupe d’Acoustique Musicale (86): 35 p, Unversité de Paris VI.

CHERNOV, B. and V. MASLOV, 1979: “The Secret of a “Solo Duet”, Soviet Anthropology and Archeology 18: 82-88.- 1987: “Larynx -double sound generator,” Proc. 11th Int’1. Cong. Phonetic Sci.: 40-43, Tallin, Estonia.

CURTET, J., 2006: Le Xöömij ou chant diphonique mongol: Aspects spectral, acoustique et musical d’une vingtaine de techniques, Master 2 de l’Université de Rennes, supervisor: Tran Quang Hai, 3 CD, 350 p.

DARGIE, D., 1985: “Some Recent Discoveries and Recordings in Xhosa Music”, Papers presented at the 5th Symposium on Ethnomusicology, University of Cape Town, International Library of African Music (ed): 29-35, Grahamtown.- 1988: Xhosa Music / Its Techniques and Instruments, with a Collection of Songs, David Philip, 235 p., Cape Town & Johannesburg.- 1991: “Umngqokolo: Xhosa overtone singing and the song Nondel’ekhaya”, African Music 7(1): 33-47, Grahamtown

.DESJACQUES, A., 1985: “Une considération phonétique sur quelques techniques vocales diphoniques mongoles”, Bulletin du Centre d’Etudes de Musique Orientale 31: 46-55, Paris.- 1993: Chants de l’Altai Mongol, thèse de doctorat, sous la direction du Prof. Manfred Kelkel et du Prof. Jacques Legrand, Université de Paris IV-Sorbonne, 389 p., Paris. (chapitre 1: Le Xöömij: 7-108), avec une cassette audio.

DEUTSCH, W.A. et FÖDERMAYR, F., 1992: “Zum Problem des zweistimmigen Sologesanges Mongolischer und Turk Völker”, Von der Vielfalt Musikalischer Kultur, Festschrift für Josef Kuckerts (Wort und Musik 12), Verlag Ursula Müller-Speiser, Anif/Salzburg: 133-145, Salzburg

.DMITRIEV, L. CHERNOV, B. & MASLOW, V., 1983: “Functioning of the Voice Mechanism in Double Voice Touvinian Singing”, Folia Phoniatrica 35: 193-197.

EDGERTON, M. & LEVIN, Th., 1999: “Le Chant des Touvas”, Pour la Science 265: 50-58, Paris.EL

HAOULI, J., 1999: Demetrio Stratos: Alla della voce-musica, Auditorium, 120 p, Milan.

ELLINGSON, T., 1970: “The Technique of Chordal Singing in the Tibetan Style”, American Anthropologist 72: 826-831.

FÖDERMAYER, F., 1983: “Zum Konzept einer vergleichend-systematischen Musikwissenschaft”, Musikethnologische Sammelbände 6: 25-39.

GUNJI, 1980: “An Acoustical Consideration of Xöömij”, Musical Voices of Asia: 135-141, The Japan Foundation (ed), Heibonsha Ltd, Tokyo

HAMAYON, R., 1980: “Mongol Music”, New Grove’s Dictionary of Music and Musicians 12: 482-485, Stanley Sadie (ed), MacMillan Publishers, London

.HARVILAHTI, L., 1983: “A Two Voiced Song With No Word”, Suomalais-ugrilaisen seuran aikakauskirja 78: 43-56, Helsinki.

HARVILAHTI, L. & KASKINEN, H., 1983: “On the Application Possibilities of Overtone Singing”, Suomomen Antropologi 4: 249-255, Helsinki.HIGGINS, A., 1995: “Tunes of War as Throat Singers Go for the Jugular”, The Independent, London.2KYRGYS, Z. K., 1992: “Pesennaia kul’tura tuvinskogo naroda” (The vocal culture of the Tuvan People), Kyzyl.

LANERI, R., 1983: “Vocal Techniques of Overtone Production”, NPCAQuarterly Journal 12(2-3): 26-30.- 2002: La Voce dell’arcobaleno : origini, tecniche e applicazioni pratiche del canto armonico, 288 p. Edizioni Il Punto di’incontro, Vicenza.

LEIGHTON, R., 2000: Tuva or Bust! Richard Feynman’s Last Journey, W.W. Norton & Company, 260 p., New York.

LEIPP, E., 1971: “Considération acoustique sur le chant diphonique”, Bulletin du Groupe d’Acoustique Musicale 58: 1-10, Paris.

LENTIN, J-P., 1986: “Je fais chanter tout mon corps”, Actuel 81-82: 142-145, Paris.

LEOTAR, F., 1998: Etudes sur la musique touva, maîtrise de l’Université de Nanterre – Paris X, 128 p., 2 cassettes.

LEOTHAUD, G., 1989: “Considérations acoustiques et musicales sur le chant diphonique”, Le chant diphonique, dossier n° 1: 17-43, Institut de la Voix, Limoges.

LEVIN, Th. & EDGERTON, M., 1999: “The Throat Singers of Tuva”, Scientific American 281 (3): 70-77.- 1999: “Le Chant des Touvas”, Pour la Science 265: 50-58, Paris.

LEVIN, Th. & Valentina Süzükei, 2006: Where Rivers and Mountains Sing / Sound, Music, and Nomadism in Tuva and Beyond, 1 CD/DVD, Indiana University Press, 281 p., Bloomington.

MOULINIE, M., 1999: Pratique de la method Vittoz et du chant diphonique, 25 p. Mémoire VITTOR IRDC, supervisor: Tran Quang Hai, Paris.

MURAOKA, T., K. Wagatsuma, and M. Horiuchi, 1983: “Acoustic Analysis of the Mongolian singing Xöömij,” Preprint of the Acoustical Society of Japan 2-3-9, pp. 385-386.

MURAOKA, T., K. Wagatsuma, Y. Tsuchikane, and M. Horiuchi, 1984: “On a Consideration of Mongolian Singing Xöömij and its Specialities,” Preprint of the seminar on Musical acoustics, The Acoustical Society of Japan MA84-1, pp. 1-6.

MURAOKA, T., S. Takeda, and M. Itoga, 2000: “Analysis of Acoustic Features of Mongolian Xöömij Singing,” Journal of the Acoustical Society of Japan, Vol. 56-5: 308-317, Tokyo.

PAILLER, J.P., 1989: “Examen video du larynx et de la cavité buccale de Monsieur Trân Quang Hai”, dossier n°1, Le Chant diphonique: 11-13, Institut de la Voix, Limoges.

PEGG, C., 1992: “Mongolian Conceptualizations of Overtonesinging (xöömi)”, The British Journal of Ethnomusicology (1): 31-53, London.- 2001: Mongolian Music, Dance and Oral Narrative, University of Washington Press.

RACHELE, R., 1996: “Overtone Singing Study Guide”, Cryptic Voices Productions (ed), 127 p., 71 transcriptions musicales, 15 sonagrammes, 1 CD, Amsterdam.

REIMANN, M., 1998: Entdecke die Musik in dir, 1 CD, 191 p., Kösel, Germany.

RIES, M. 2006: Le chant diphonique: une voix, deux chants, mémoire, 27 p., supervisor: Tran Quang Hai, Lycée Fabert MP, Metz.

SAKAKIBARA, K.-I, T. Konishi, K. Kondo, E. Z. Murano, M. Kumada, H. Imagawa, and S. Niimi, 2001: “Vocal fold and false vocal fold vibrations and synthesis of khoomei”, Proc. of Interna-tional Computer Music Conference 2001: 135-138. http://www.brl.ntt.co.jp/people/kis/paper/icmc2001.pdf (PDF: 622 kbytes)

SAKAKIBARA, K.-I, H. Imagawa,T. Konishi, and S. Niimi, 2001: “Glottal Source Model for Throat Singing Based on Vocal Fold and False Vocal Fold Vibrations”, Proc. Acoust. Soc. Jap. 1-6-14: 255-256, Tokyo.

SAKAKIBARA, K.-I, H. Imagawa, S. Niimi, and N. Osaka, 2002: “ Synthesis of the laryngeal source of throat singing using a 2×2-mass model,” Proc. of International Computer Music Confer-ence 2002: 5-8. http://www.brl.ntt.co.jp/people/kis/paper/icmc2002.pdf (PDF: 558 kB)

SAKAKIBARA, K.-I, Tomoko Konishi, Hiroshi Imagawa, Emi Z. Murano, Kazumasa Kondo, Masanobu Kumada, and Seiji Niimi, 2002: “Observation of the laryngeal movements for throat singing – Vibration of two pairs of folds in human larynx”, Lay Language Paper for First Pan-American/Iberian Meeting on Acoustics in Cancun, Acoust. Soc. Am. http://www.acoustics.org/press/ World Wide Press Room.

SAUS, W., 2004: Oberton Singen: Das Geheimnis einer magischen Stimmkunst. Traumzeit-Verlag, 132 p, 1CD, Germany

SAUVAGE, J.P., 1989: “Observation clinique de Monsieur Trân Quang Hai”, dossier n° 1, Le Chant diphonique: 3-10, Institut de la Voix, Limoges.

SMITH, H., STEVENS, K.N., and TOMLINSON, R. S., 1967: “On an unusual mode of singing of certain Tibetan Lamas”, in Journal of the Acoustical Society of America 41 (5): 1262-4.SMITH, H., STEVENS, K.N., 1967: “Unique Vocal Abilities of Certain Tibetan Lamas”, American Anthopologist: 209-212.

SUNDBERG, J., 1977: “The Acoustics of the Singing Voice”, Scientific American 236: 82-91.- 1987: The Science of the Singing Voice, 216 p., Northern Illinois University Press.

TAKEDA, S., M. Itoga, Y, Sato and Y, Ueda, 1992: “Analysis of Acoustical Features of Mongolian Singing3 “Khöömij”, Proc. Acoust. Soc. Jap. 2-7-15: 605-606, Tokyo.

TAKEDA, S., M. Itoga, 1993: “On the differences in Spectra in Accordance with the Phonemic and Tone-height Differences in Mongolian Singing “Khöömij”, Proc. Acoust. Soc. Jap. 2-3-3: 499-500, Tokyo.- 1993: “Analysis of Acoustic Features of Mongolian Singing “Khöömij”, Technical Report on Musical Information Sci.1-4: 1-4, Tokyo.

TAKEDA, S., T. Muraoka, 2002: “Analysis of Acoustical Features of Biphonic Singing Voices: Male and Female Xöömij and Male Steppe Kargiraa”, http://www.soundtransformations.btinter-net.co.uk/AnalysisOfAcousticalFeaturesOfBiphonicSingingVoicestakedandmuraoka.htm

TATARINTSEV, B., 1998: Tuvinskoe gorlovoe penie. Problemy proiskhozhdeniya (Problems of the Origin of Tuvan Throat Singing (bilingual edition), 79 p.,International Scientific Centre “Khoomei”, Kyzyl.

TISATO, G. & MACCARINI, A. R., 1991: “Analysis and Synthesis of Diphonic Singing” (Analyse et synthèse du chant diphonique), Nouvelles Voies de la Voix, 1ère partie, Bulletin d’audiophonologie 7(5&6): 619-648, Besançon.

TISATO, G., 1989: “Analisi digitale dei suoni multifonici”, Proc. of III CIM (Colloquio di Informatica Musicale): 107-128, Padova.- 1989: “Il canto degli armonici”, Nuove tecnologie et documentazione etnomusicologica, Culture Musicali n° 15 & 16.

TISATO, G. & COSI, P., 2003: “On the Magic of Overtone Singing”, Voce, Canto, Parlato / Studi di Onore di Franco Ferrero: 83-100, Istituto di Scienze e Tecnologie della Cognizione Sezione di Padova “Fonetica e Dialettologia”, UNIPRESS, Padova.

TOKUMARU, Y., 1994: Review of Hugo Zemp and Trân Quang Hai, “The Song of Harmonics”, ETHNOMUSICOLOGY, 38 (2): 387-389.

TRAN QUANG HAI & GUILOU, D., 1980: “Original Research and Acoustical Analysis in Connection with the Xöömij Style of Biphonic Singing”, Musical Voices of Asia: 162-173, The Japan Foundation (éd), Heibonsha Ltd, Tokyo.

TRAN QUANG HAI & ZEMP, Hugo, 1991: “Recherches expérimentales sur le chant diphonique”, Cahiers de Musiques traditionnelles: VOIX vol.4: 27-68, Ateliers d’ethnomusicologie /AIMP, Genève.

TRAN QUANG HAI, 1975: “Technique de la voix chantée mongole: xöömij”, Bulletin du CEMO (14 &15): 32-36, Paris

.- 1983: “Note à propos du chant diphonique mongol”, Catalogue de l’exposition Mongolie-Mongolie, Musée de l’Homme (éd),Paris.

– 1989: “Réalisation du chant diphonique”, dossier n°1 Le Chant diphonique : 15-16, Institut de la Voix, Limoges.

– 1990: “Les Musiques vocales”, L’Esprit des Voix, C.Alès (éd), La Pensée Sauvage: 43-52, Grenoble.

– 1991: “La voix dans les cultures extra-occidentales”, La Voix dévoilée: 164-186, éditions Romillat, Paris.

– 1991: “Les différents styles du chant diphonique”, Actes de l’Universon: 45-52, Narbonne.

– 1991: “New Experimental About the Overtone Singing Style”, (Nouvelles Expérimentations sur le chant diphonique),Nouvelles Voies de la Voix, 1ère partie, Bulletin d’adiophonologie 7(5&6): 607-618, Besançon.

– 1992: “Instruments traditionnels et musiques à bourdon : la voix diphonique”, Autour de l’instrument de musique (2ème Colloque départemental d’éducation musicale en Seine et Marne): 15-21, Melun.

– 1992: “Pratique du chant dysphonique ou du chant diphonique chez les personnes âgées”, Rééducation orthophonique (3ème Colloque d’étude clinique du langage en gériatrie: La voix du sujet âgé 30 (171): 299-311, Paris.

– 1995: “Le chant diphonique: description, historique, styles, aspect acoustique et spectral”, EM, Annuario degli Archivi di Etnomusicologia dell’Accademia Nazionale di Santa Cecilia, 2:123-150, Rome.

– 1997: “Recherches Introspectives sur le chant diphonique et leurs applications”, Penser La Voix, (ed) La Licorne: 195-210, Poitiers.

– 1997: “Overtones in Central Asia and in South Africa (Xhosa Vocal Styles)é, Confluences: Cross-Cultural Fusions in Music and Dance, Proceedings of the First South African Music and Dance Conference and 15th Symposium on Ethnomusicology: 422-432, (ed) Université de Cape Town.

– 1998: “Survey of overtone singing style”, Die Ausdruckswelt der Stimme, 1-Stuttgarter Stimmtage/ Horst Gunderman, Hüthig (éditeur): 77-83.

– 1999: “Overtones used in Tibetan Buddhist Chanting and in Tuvin Shamanism”, Ritual and Music, Lithuanian Academy of Music, Department of Ethnomusicology (ed.): 129-136, Vilnius.

– 2000: “Some Experimental and Introspective Researches on Xoomij Overtone Singing”, Proceedings WESTPRAC VII: 593-598, University of Kumamoto, Japan.

– 2001: “Chant diphonique”, Science et Conscience 2: 42-44, Luxembourg.

– 2001: “Voix d’autres cultures”, Cinq Sens dans un corps 284: 36-37, CNRS, Paris.

– 2002: “A la découverte du chant diphonique”, Moyens d’investigation et pédagogie de la voix chantée: actes du colloque tenu les 8, 9 et 10 février 2001 au Conservatoire National de region de Lyon, 1 CD Rom, ed. Guy Cornut, Symétrie: 117-132, Lyon

– 2002: Polyphony in Overtone Singing Khoomei in Central Asia: the Case of Mongolia and Tuva, 16 p. International Forum of Ethnomusicology: Polyphonic Singing in Traditional Societies – Behaviors and Aesthetics, Taipei.

– 2003: “Polyphony in one Throat”, Proceedings of the First International Symposium on Traditional Polyphony (2-8 october 2002): 274-287, Tbilisi, Georgia.TSAI, C.G., Shau, Y.W., and Hsiao, T.Y.,

-2004: “False vocal fold surface waves during Sygyt singing: a hypothesis (oral)”. International Conference on Voice Physiology and Biomechanics, August 18-20, Marseille, France.

TSAI, C.G., 2004: “Physical Modeling of the Vocal Tract of a Sygyt Singer / Source Theory v.s. Resonance Theory”http://homepage.ntu.edu.tw/~gim/gia/overtonesinging/sygyt.html

– 2005: “Multi-pitch effect on cognition of solo music: examples of the Chinese flute, Jew’s harp and overtone singing (oral)”. International Symposium on Body & Cognition, June 4-5, Taipei.4

– 2005: “Kargiraa and Meditation: Pipe model of a Kargyraa Singer’s Vocal tract”, http://www.soundtransformations.btinternet.co.uk/KargyraaandmeditationchenGiaTsai.htm

VAN TONGEREN, M., 1994: Xöömij in Tuva: New Developments, New Dimensions, Master degree supervised by Ernst Heins, Ethnomusicologisch Centrum “Jaap Kunst”, Universiteit van Amsterdam

.- 1995: “A Tuvan Perspective on Throat Singing” in Oideion, The Performing Arts Worldwide, 2: 293-312, Centre of Non Western Studies, Université de Leiden.

– 2004: Overtone Singing: Physics and Metaphysics in East and West, Revised 2nd Edition, 281 p, 1 CD, Fusica, Amsterdam.VARGYAS, L., 1968: “Performing Styles in Mongolian Chant”, Journal of the International Folk Music Council: 70-72, Kingston.

VLACHOU, E., 1985: Recherches Vocales contemporaines: chant diphonique, Maîtrise à l’Université de Paris VIII-Saint Denis, sous la direction de Daniel Charles, 90 p., Paris.

WALCOTT, R., 1974: “The Chöömij of Mongolia – A Spectral Analysis of Overtone Singing”, Selected Reports in Ethnomusicology 2(1): 55-59, UCLA, Los Angeles.

YAMADA, M., 1998: “Mongolian biphonic singing Xöömij,” Journal of the Acoustical Society of Japan, Vol. 54-9, pp. 680-685, Tokyo.

ZARLINO, G., 1558: Institutioni harmoniche, Venise (cf. Tisato, G.).

ZEMP, H & TRAN QUANG HAI, 1991: “Recherches expérimentales sur le chant diphonique” (see TRAN QUANG HAI & ZEMP, H

Ormiston & Candida Valentino Web Pages / Mongolian Khöömii Singing Papers, Singers and Recordings, UK

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Ormiston & Candida Valentino Web Pages / Mongolian Khöömii Singing Papers, Singers and Recordings, UK

Soundtransformations, Michael Ormiston & Candida Valentino Web Pages

Mongolian Khöömii Singing Papers, Singers and Recordings

CANDIDA VALENTINO & MICHAEL ORMISTON

There have been many explanations of khöömii that I have come across over the years. I will attempt to point to the main contributors and sources. My own studies brought me to Mongolia in 1993/4/7 and 2000/5/6 and I have interviewed attended and set up workshops with Gereltsogt (London 1993) and Tserendavaa (Europe 2002) that gave me further insight. This page is still under construction and will be updated as I find time to put more information on. If you would like to send me any information regarding Mongolian khöömii and if any Mongolian khöömii singers would like their own page on this site then please email me at  ormi_khoomii@yahoo.com

Carol Pegg’s articles on Khöömii Khöömii nomination extract for UNSECO Intangible Cultural Heritage 2010

Scientific American Article September 1999

The Chöömij of Mongolia A Spectral Analysis of Overtone Singing by Ronald Walcott 1974

Original Research and Acoustical Analysis in connection with the Xöömij Style of Biphonic Singing Tran Quang Hai and Denis Guillou, Paris 1980

A Two Voiced Song With No Words by Lauri Harvilahti circa 1981

Tuvin Folk Music by A. N. Aksenov, Tuvinskaia Narodnaia Muzyka (Moscow, 1964)

Analysis of Acoustical Features of Biphonic Singing Voices Male and Female Xöömij and Male Steppe Kargiraa  By Takeda, Shoichi and Muraoka, Teruo

Why Do We Perceive Two Tones Simultaneously In Xoomij Mongolian Traditional Singing? By MasashiYamada Synthesis of the laryngeal source of throat singing using a 2×2-mass model Ken-Ichi Sakakibara, Hiroshi Imagawa, Seiji Niimi, Naotoshi Osaka

Physical Modelling of the vocal tract of a Sygyt singer by Chen-Gia Tsai

Perception of Overtone Singing by Chen-Gia Tsai

Kargyraa and meditation by Chen-Gia Tsai

Growl Voice in Ethnic and Pop Styles Ken-Ichi Sakakibara, Leonardo Fuks, Hiroshi Imagawa, Niro Tayama 2004Naotoshi Osaka 2006

Observation of Laryngeal Movements for Throat Singing. Vibrations of two pairs of folds in the human larynx Ken-Ichi Sakakibara, Tomoko Konishi, Emi Zuiki Murano, Hiroshi Imagawa, Masanobu Kumada, Kazumasa Kondo, and Seiji Niimi
December 2002

Altai Khangai Ensemble info on Khöömii from the net  

Zulsar on Khöömii from the Net  

Page one of some Mongolian CD’s Featuring khöömii with track listings and liner notes  

Page two of some Mongolian CD’s Featuring khöömii with track listings and liner notes  

Page three of Some Mongolian CD’s found on the net   An Incomplete List of recorded Mongolian khöömii singers, click on letters A to F                        G to R                      S to Z   Magic of Tone and the Art of Music by the late Dane Rhudyar
This is a very interesting extract about the Harmonic series from the now out of print book
 

Some Khöömii, Khoomei, Overtone Singing Links and Related Sites now mainly out of date will update soon

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http://www.soundtransformations.co.uk/Khoomiinewmain.htm