42 – Un atelier pour… découvrir le chant diphonique

42 – Un atelier pour… découvrir le chant diphonique

364 views•Apr 21, 2020 91ShareSaveJM France 228 subscribers Avec “Ma (Ré)création musicale”, les musiciens des JM France t’offrent un moment de musique “maison” : une occasion de s’aérer la tête, de chanter et même d’étonner ton professeur… Prêt à relever les défis proposés? Envoie ta contribution à : marecreationmusicale@gmail.com (*) DEFI N°42: Iannis Psallidakos te propose une initiation au chant diphonique. Le chant diphonique est une technique qui permet de produire en même temps deux notes de fréquences différentes : une spécificité vocale pratiquée depuis très longtemps dans de nombreuses régions du monde ! Suis bien les indications de Iannis… quand tu te seras bien entrainé, tu pourras chanter et même diriger ta chorale à la maison ! Entraîne-toi et envoie vite le résultat à ton professeur ou directement sur l’adresse suivante: marecreationmusicale@gmail.com (*). Bon courage à toi! (*) A noter : les contributions seront regroupées sur une plateforme privée, à l’attention des enseignants et des artistes. Une autorisation vous sera demandée, le cas échéant, pour toute diffusion en ligne.

SVEN GRAWUNDER: Comparison of voice production types of ‘western’ overtonesinging and South Siberian throat singing

  Comparison of voice production types of ‘western’ overtonesinging and South Siberian throat singing

Sven Grawunder University of Halle, Germany

E-mail: grawunder@sprechwiss.uni-halle.de

ABSTRACT

The investigator uses a non-invasive methodology basedon a synchronous recording of voice, laryngographicsignal and subglottal resonance on 2 ‘European’overtone singers and 2 ‘Siberian’ semi-professionalthroat singers. For the upper registers of throat singing an extremely short contacting phase was obtained and SQseems to be appropriate to distinguish between both phonation types. Lower registers share doublet and triplet waveform patterns, but differ significantly in jitter and shimmer rates (j < 0.1; sh < 0.15 for ThS). Other findings are a narrowed bandwidth of a dominant F2 and an ostinato formant between F3 and F4, which are remarkable for all throat singing styles

https://www.academia.edu/3290854/Comparison_of_voice_production_types_of_western_overtone_singing_and_South_Siberian_throat_singing?email_work_card=title

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Rollin Rachele “Overtone Singing” Music Video

Rollin Rachele “Overtone Singing” Music Video

285,694 views•Jan 28, 2008 91485ShareSavePythonaquarius 186 subscribers Rollin Rachele (www.overtonesinging.com) is one of the world’s leading authorities on the vocal art of overtone singing (also known as harmonic singing). He is an accomplished musician, performing artist, teacher and innovator. He has contributed his scientific knowledge to academic establishments such as the American Laryngological Voice Research and Education Foundation and The Voice Foundation of Philadelphia, Pennsylvania, USA. His media appearances are numerous, including several television appearances, radio interviews and feature articles in publications such as the Evening Standard and Men’s Health magazine. In this music video arrangement, Rollin Rachele is accompanied by Celtic artist Kate McKenzie and Classical Indian vocalist Ustad Mohammed Sayeed Khan. The video was filmed in Bath, England and the soundtrack was recorded and engineered at the Notre Dame Church in Leicester Square in London. Performed by: Rollin Rachele, Kate McKenzie, Ustad Mohammed Sayeed Khan Soundtrack Engineered by: Pete Townsend Video Directed and Edited by: Andrew Guidone, Valery Lyman, Shetal Shah Director of Photography: Andrew Guidone Choreography: Valery Lyman, Shetal Shah Music copyright 2000-2012 Cryptic Voices Productions Video production copyright 2000-2012 Python/Aquarius Productions and Cryptic Voices Productions Director website: http://www.pythonaquarius.com Rollin website: http://www.overtonesinging.com, http://www.abundantsun.com

Obertongesang, Untertongesang, Schamanische Gesänge -Studioimpressionen

Obertongesang, Untertongesang, Schamanische Gesänge -Studioimpressionen

10,364 views•Sep 23, 2016 1195ShareSaveStimmschamanin Sandy Kühn 610 subscribers Seminar u Unterricht in verschiedenen Stimmtechniken Sandy Kühn http://www.stimm-schamanin.de

NOMADIC VOICES – SARDINIA/MONGOLIA – “DILLU”

NOMADIC VOICES – SARDINIA/MONGOLIA – “DILLU”

41,669 views•Nov 8, 2015 8633ShareSavemarsabmusic 893 subscribers LIVE IN ETHNO KRAKOW, 9 july 2015 NOMADIC VOICES THE SONGS OF SARDINIAN TENORES AND THE DIPHONIC MONGOLIAN CHANT CUNCORDU E TENORE DE OROSEI MEETS MONGOLIAN SINGERS TS. TSOGTGEREL ET N. GANZORING In the heart of countryside still considered sacred, the harsh beauty of the Sardinian mountains meets the vast steppes through the polyphony of the Tenores and Khoomii overtone chants. Within the confines of the sacred and the profane, somewhere between liturgy and peasant celebrations, these voices resonate in the heights of Sardinian mountains. It is there that the beauty of a pastoral culture is still to be found. The Sardinian polyphonies date back to the Nuragic age when these nuraghi or round towers were built, in the form of truncated cones. These megalithic edifices remain the symbol of this age between 1900 and 730 years BCE (between the bronze and iron ages). Beyond these towards other mountains equally sacred since prehistoric times, those of the Gobi-Altai steppes, where the Altai mountains meet the immense Gobi desert, legend has it that overtone chant was born. Here it is known as Khoomii, meaning larynx. It is accompanied by the morin-khuur or khiil-khuur, the horse head fiddle of the poet and sootsayer. Overtone chant is a musical metaphor for this land: the hilltops and the valleys, the vastness of the steppes, the herds, the tumult of nature, its rumbles and its murmurs, the galloping horses and the rustling of its wind grasses. Surprisingly, in the heart of these two traditions, we find the instrument known as the guimbarde or Jew’s harp, an instrument familiar to nomadic shepherds all over the world. This original work highlights the richness of these vocal techniques of people who belong to the same history of mankind and who are the last witnesses of ancient times when man knew how to be one with nature. (Alain Weber)