TRAN QUANG HAI: 50 Years of Research in Vietnamese Traditional Music and Overtone Singing Paperback – January 29, 2019. This book is on AMAZON https://www.amazon.com/gp/product/1794125671?pf_rd_p=2d1ab404-3b11-4c97-b3db-48081e145e35&pf_rd_r=KBP8AKY8ZDHVK5NV6ER5

TRAN QUANG HAI: 50 Years of Research in Vietnamese Traditional Music and Overtone Singing Paperback – January 29, 2019

cover book tran quang hai 2019.jpg

Hide other formats and editions

Price
New from Used from
Paperback, January 29, 2019
$15.00
$15.00
PREFACE :
Professor Hai’s road of musicology practice and musicology research goes beyond the confines of his country of origin. It covers Vietnamese/Oriental Music, from traditional Vietnamese Music of all genres, to the musical background of the Montagnards in the Vietnamese Highlands. It went on beyond borders to address the wonderful aspects of the Musical Heritage of different countries spanning from Southeast Asia to Central Asia to reach as far as Israel, Central Europe to Western Europe.Professor Hai has been working for the National Center for Scientific Research (CNRS) in France since 1968, and is now retired after working for 41 years at the Department of Ethnomusicology of the Musée de l’Homme (Paris). He was a lecturer on South East Asian music at the University of Paris X – Nanterre (1988-1995).He plays 15 musical instruments from Vietnam, China, India, Iran, Indonesia and Europe. Since 1966, he has given over 3,000 concerts in 70 countries, and has taken part in a hundred or so international traditional music festivals. He has taken part in radio and television broadcasts in Europe, America, Asia, Africa, and Australia.Professor Hai has perfected and made us understand more the Jew’s Harp, the Song of Harmonics, he is the greatest specialist in overtone singing.
Dr. Nguyen Vi Son
51E+0NQvK1L.jpg

Product details

CONTENTS :

Tran Quang Hai’sBiography………………………………………………………………………………………….1

Vietnamese Music from a Cultural Perspective…………………………………………………………45

About the Terminology Used in Overtone/Undertone fro the Throat Singing/

Overtone Singing………………………………………………………………………………………………………… 83

Cithare Vietnamienne, Guimbarde, Cuillères au service de la musique

électro-acoustique………………………………………………………………………………………………………..93

Music of the Montagnards of Vietnam………………………………………………………………………105

Recherches Introspectives et Expérimentales sur le chant diphonique…………………145

Original Research and Acoustical Analysis in Connection with the Xoomij Style

of Biphonic Singing……………………………………………………………………………………………………..177

Recherches Expérimentales sur le chant diphonique………………………………………………201

Numbers in Asian Music……………………………………………………………………………………………..313

Caratteristiche fisiologiche e acustiche del Canto diphonico……………………………………339

Photos of Tran Quang Hai ‘s friends in the world of Ethnomusicology……………………367

Selection of Video Clips performed by Tran Quang Hai…………………………………………….400

 

https://www.amazon.com/gp/product/1794125671?pf_rd_p=2d1ab404-3b11-4c97-b3db-48081e145e35&pf_rd_r=SW7657QT41Z10T6XGD52

 

 

“Sven Grawunder: On the Physiology of Voice Production in South-Siberian Throat Singing”

| Titel: “Sven Grawunder: On the Physiology of Voice Production in South-Siberian Throat Singing” |

Reihe:
Separate Titel 
Titel:
Sven Grawunder: On the Physiology of Voice Production in South-Siberian Throat Singing 
Untertitel:
Analysis of Acoustic and Electrophysiological Evidences 
Umfang:
334 Seiten 
ISBN:
978-3-86596-172-3 
Inhaltsverzeichnis:
PDF 
Preis, netto:
37,20

EUR

7 % MwSt.:
2,60

EUR

Preis, brutto:
39,80

EUR

Anzahl:
   

 

https://www.frank-timme.de/uploads/tx_ttproducts/datasheet/ISBN_978-3-86596-172-3_Inhaltsverz.pdf

Doshpuluur – Kehlkopfgesang – Mongolei Musik – Obertongesang

Doshpuluur – Kehlkopfgesang – Mongolei Musik – Obertongesang

Published on Jun 2, 2011

Bayersaikhan Erkhembayar, solo. Ein neues Mitglied der Gruppe Khukh Mongol, die schon seit vielen Jahren in Ingolstadt ihre zweite Heimat gefunden haben. Im Hintergrund ist die Baß Pferdekopfgeige zu sehen. http://www.khukh-mongol.com/ Visit my homepage to learn more about real siberian shaman culture: http://superschaman.de

Marranzano World Fest‎ Workshop di canto armonico con Tran Quang Hai (Vietnam), in Catania , Sicilia, Italia, 10th edition of Marranzano World Fest, from 22 to 23 june 2019 16h to 19h.

Marranzano World Fest
4 h
Marranzano World Fest‎ Workshop di canto armonico con Tran Quang Hai (Vietnam), in Catania , Sicilia, Italia, 10th edition of Marranzano World Fest, from 22 to 23 june 2019
16h to 19h.

Il canto armonico, anche noto come canto difonico o overtone singing, è un insieme di tecniche vocali che permettono di far emergere gli armonici naturali della voce. Ne consegue che una sola persona può emettere contemporaneamente da due a tre note armoniche diverse.

Tran Quang Hai, polistrumentista e etnomusicologo, nel 1970 ha trovato la chiave per la tecnica del canto armonico e durante il suo workshop per il MWF 2019 darà ai partecipanti la sua “ricetta” che aiuta chiunque a fare il primo passo per cantare gli armonici.

Overtone singing, also known as overtone singing, is a set of vocal techniques that allow the natural harmonics of the voice to emerge. It follows that a single person can simultaneously emit two to three different harmonic notes.

Tran Quang Hai, multi-instrumentalist and ethnomusicologist, found the key to the overtone singing technique in 1970 and during his MWF 2019 workshop he will give to participants his “recipe” that helps anyone to take the first step to sing harmonics.

Le chant diphonique, aussi connu sous le nom de chant difonico ou harmonique , est un ensemble de techniques vocales qui permettent de faire émerger les harmoniques naturelles de la voix. Il en résulte qu’une seule personne peut émettre en même temps de deux à trois notes harmoniques différentes.

Tran Quang Hai , instrumentiste et ethnomusicologue, en 1970 a trouvé la clé pour la technique du chant diphonique et lors de son atelier pour le mwf 2019 donnera aux participants sa “recette” qui aide n’importe qui à faire le premier pas pour Chanter les harmoniques.
·

L’image contient peut-être : 1 personne, nuit et intérieur
13327555_10153822966317739_4157969437898029604_n
13335973_10153822966147739_9071075696767049614_n
13346414_10153822966842739_2282742230039773348_n

MARK VAN TONGEREN : CATCHING MY BREATH WITHOUT OXYGEN

MARK VAN TONGEREN

https://www.fusica.nl/catching-my-breath-without-oxygen/

Last week Ming-Hwa Yeh invited me to join her for a late-night performance on the roof of the Wellspring Spa hotel in Yilan. Because of our travels, we had no time to rehearse except for the day itself. It was to be an adaptation of several performances we had done in previous years. We used plastic before, so she brought large sheets of plastic again. And she asked me to spread out the plastic on the water with her, then swim under it and come up. I then was trapped in a space where no fresh air entered.

Breathing out enlarged the space around my head a bit. Breathing in pulled the plastic back. As soon as the plastic closed off my mouth that was it (or almost, sometimes): no more air.

This was a very fun way for me to use breathing techniques. I first developed those as a kid, when I swam almost every day, or even several times a day. Later I learnt more from overtone singing, which naturally lowers the frequency of your breathing and induces a more controlled breathing. And later again from yoga and finally pranayama.

In the last 10 years I discovered all the games I can do with my kids in the swimming pool. Like playing dead: I completely relax my body, face down into the water. They start to move me up to get my head out of the water (too heavy) or push down and stand on my back (easier). Either way I would often stay under water for a minute, if possible.

Ming-Hwa, on the contrary, cannot swim – she never learnt it. And yet she made herself look convincing in the water, as if she could swim! And she had no fear of the water even when I pulled her to swim underwater.

This in itself was a great experience, also for the audience, I was told (we repeat it next week: the only performance for the public). Then imagine that it is a sky-high swimmingpool with the Pacific Ocean and Turtle Island/Guishan (龜山島) as a backdrop.

https://www.fusica.nl/catching-my-breath-without-oxygen/

(Photo credit: Alvis Lai)

https://www.silksspring.com/tw/promotions

 

fusica.nl
Catching my breath without oxygen. 14th June 2019News, People,…

Catching my breath without oxygen.

中文請往下滑
A strange coincidence that my last post here was about breathing, too. Or maybe not, as breathing is such a central part of my work.
Last week choreographer Ming-Hwa Yeh (葉名樺) invited me to join her for a late-night performance on the roof of the Wellspring Spa hotel in Yilan. Because of our travels, we had no time to rehearse except for the day itself. It was to be an adaptation of several performances we had done in previous years. We used plastic before, so she brought large sheets of plastic again. And she asked me to spread out the plastic on the water with her, then swim under it and come up. I then was trapped in a space where no fresh air entered.
Breathing out enlarged the space around my head a bit. Breathing in pulled the plastic back. As soon as the plastic closed off my mouth that was it (or almost, sometimes): no more air.
 
This was a very fun way for me to use breathing techniques. I first developed those as a kid, when I swam almost every day, or even several times a day. Later I learnt more from overtone singing, which naturally lowers the frequency of your breathing and induces a more controlled breathing. And later again from yoga and finally pranayama.
 
In the last 10 years I discovered all the games I can do with my kids in the swimming pool. Like playing dead: I completely relax my body, face down into the water. They start to move me up to get my head out of the water (too heavy) or push down and stand on my back (easier). Either way I would often stay under water for a minute, if possible.
 
Ming-Hwa, on the contrary, cannot swim – she never learnt it. And yet she made herself look convincing in the water, as if she could swim. And she had no fear of the water even when I pulled her to swim underwater (maybe I was more scared than she was) .
This is an almost one-off performance: last week for the press, we repeat it next week for the public. What a great way to stay in a hotel with a sky-high swimmingpool and the Pacific Ocean with Turtle Island/Guishan (龜山島) as a backdrop.
 
(Photo credit: Alvis Lai)

Can I sing sygyt for one minute without taking a breath?

JOHANNI CURTET : La transmission du höömij, un art du timbre vocal : ethnomusicologie et histoire du chant diphonique mongol, thèse de doctorat en Musicologie soutenue par Johanni Curtet, à Rennes 2 (Université de Rennes), France, 12 novembre 2013

JOHANNI CURTET

JOHANNI CURTET

La transmission du höömij, un art du timbre vocal : ethnomusicologie et histoire du chant diphonique mongol

par Johanni Curtet

Thèse de doctorat en Musicologie

Sous la direction de Hervé Lacombe et de Alain Desjacques.

Soutenue le 12-11-2013

à Rennes 2 , dans le cadre de École doctorale Arts, Lettres, Langues (Rennes) , en partenariat avec Université européenne de Bretagne (PRES) .

Le président du jury était Luc Charles-Dominique.

Le jury était composé de Sabine Trebinjac, Jacques Legrand.

Les rapporteurs étaient Luc Charles-Dominique, Susanne Fürniss.

mots clés mots clés

  • Résumé

    Cette thèse est une étude ethnomusicologique à dimension historique portant sur la transmission globale du höömij en Mongolie. Pour expliquer l’évolution de cette technique vocale, sont explorés les légendes, les conceptions autochtones, l’histoire des années 1950 au début des années 2010 et la mise en patrimoine pour l’avenir.La première partie montre comment le chant diphonique prend forme dans sa culture. Perçu comme un art du timbre par ses détenteurs, il entretient des relations avec la nature, ainsi qu’un ensemble de techniques vocales et instrumentales issues des contextes rituel et pastoral. Ces fondements du höömij sont ensuite examinés à la lumière de l’histoire de la Mongolie. Entre les périodes soviétique etcontemporaine, la deuxième partie brosse les changements survenus dans la pratique, entre la scène et l’enregistrement. À côté de l’usage rural, se développe une nouvelle forme professionnelle. Tous ces apports ont façonné le chant diphonique mongol dans son état actuel. La troisième partie étudie la transmission à travers l’enseignement et la patrimonialisation. Les maîtres évoluent entre deux pôles : un village de l’Altaï perçu comme le lieu des origines, et une université d’Ulaanbaatar, qui académise la pratique et diffuse son modèle au niveau national. Tout cela participe au processus de patrimonialisation du höömij, desa constitution en emblème musical sous la période soviétique à son inscription sur la liste du Patrimoine Culturel Immatériel de l’Unesco. Le höömij mongol apparaît dans toute sa contemporanéité

http://www.theses.fr/2013REN20043

Autre version  Accéder sur intranet

Cette thèse a donné lieu à une publication en 2013 par Université Rennes 2 à Rennes

La transmission du höömij, un art du timbre vocal : ethnomusicologie et histoire du chant diphonique mongol

Urbi et Orbi with Johanni Curtet , Tserendavaa & Tsogtgerel

Urbi et Orbi with Johanni Curtet , Tserendavaa & Tsogtgerel

Published on Sep 6, 2012

Urbi&Orbi Création autour du Chant diphonique de l’Altaï Mongol. Tserendavaa & Tsogtgerel : Chants diphoniques de l’Altaï Mongol Johanni Curtet : Chant diphonique Jean Baptiste Henry : Bandonéon Sophie Bernado : Basson, Chant Gildas Boclé : Contrebasse Pierrick Lefranc : Guitare, Composition http://www.urbietorbicreation.com