Bibliography of Overtone Singing (2009) by Tran Quang Hai

Bibliography of Overtone Singing (2009) by Tran Quang Hai

1
Bibliography of Overtone Singing (2009)
by 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.
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KYRGYS, 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 International
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 Conference
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 Singing
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“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.btinternet.
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.
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– 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, Hugo).

Author: tranquanghai1944

Ethnomusicologist, composer and vietnamese traditional musician

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