KIVA SIMOVA : biography, CANADA

The Biography

Kiva Simova is a seasoned musician from Manitoba (based in Toronto, ON, Canada). Best known for polyphonic overtone singing (2 pitches from one voice), she has enthralled audiences globally with her innovative ways of blending this art form with genres not commonly associated with it. Such as….jazzy pop/ experimental/ world, accompanying herself on keyboards. With 3 solo CDs to her credit (The Ladder ’98, Pulse ’05, and newest The Quality of Light ’14), her current re-invention finds her leaping off to tour solo, conduct overtone singing workshops and improvise with others at every opportunity. Speaking of….her solo career has been sprinkled with numerous vocal improvisations with other artists. Live, in recordings and soundtracks, she’s worked with the likes of Tanya Tagaq, Jennifer Berezan, Wimme, Vladiswar Nadishana, Olla Vogala Orchestra and many more. A wild improv done with world renowned didgeridoo player Ondrej Smeykal on the new CD is testament to this (Meeting in Dreamtime).
“ethereal, magical, guttural and entrancing all at once”- John Kendle, Winnipeg Free Press
“highly personal, yet global in scope and tone”- Penguin Eggs Magazine
“a force to be reckoned with”- Evolution of Media

Always the odd one out, a child boldly singing her own harmony in the otherwise all unison church choir, playing by ear was a natural. Pop, classical and jazz piano studies led to membership in all kinds of bands. This Winnipeg music veteran ultimately went on to carve out her own inimitable niche over the years since she started overtone singing in ’89. As a tour member (backup vocals and keyboards) of Crash Test Dummies for the ’94 world tour in support of ‘God Shuffled His Feet’, she demonstrated overtone singing during introductions at each concert. Expanding horizons in ’09, as one of a very few, she created a substantial body of work for overtone choir, debuting as a conductor in ’10 with her own such choir Auralia in Prague.

Past recordings feature world class musicians to contribute their magic, with an emphasis on many different cultures, especially by way of percussion. Kiva’s newest music has a strong leaning to intelligent lyrics, her piano playing skills, still with the ‘special spice’ of overtones appearing judiciously. Described as “alt singer songwriter” by George Koller (big emphasis on “alt”). In many ways, back to her roots and getting down to the essence of the songs. The timeless and biggest hit is ‘Regret‘ from the debut CD The Ladder. A moving and melancholy anthem with an overtone chorus, it addresses the repeated errors of humankind. This is one piece that continues to generate the most unusual opportunities for this artist.

Career highlights include:

-A Song for all Beings (Jennifer Berezan & Friends) mega production Nov ’13 & Feb ’17, San Rafael, CA (guest vocalist with Raz Kennedy)
-Musica Intima choral group, Vancouver ’16, as guest overtone vocalist
-Prague Overtone Festival, 4 consecutive years ’09- ’12
-Atlantykron Conference, Romania ’11
-Polyphonic Singing Festival, Albania ’08
-KEIKU Throat Singing Festival, Helsinki ’01
-Winnipeg Folk Festival main stage ’01
-International Symposium of Throat Singing, Tuva, Russia ’95 as only female foreigner to perform, judge the competition, and briefly appear in the Oscar nominated documentary ‘Genghis Blues’
-Side member of Crash Test Dummies world tour ’94 as backup vocalist and keyboardist (SNL, David Letterman, Tonight Show, Royal Albert Hall….)

As tour member of Crash Test Dummies 'God Shuffled His Feet' '94 world tour (standing second from left)
As tour member of Crash Test Dummies ‘God Shuffled His Feet’ ’94 world tour (standing second from left)

The following video is a full concert of Crash Test Dummies in Italy in ’94 in support of God Shuffled His Feet. Kiva sings backup vocals and keyboards. She was known as Kathy Brown back then. At the 54:30 point, Brad introduces her and she gives a short demonstration of overtone singing.
Influences: Jane Siberry, Steely Dan, Pink Floyd, Ferron, Yma Sumac, Jan Hammer, Todd Rundgren, Little Feat, Keith Jarrett, Chick Corea, Mahavishnu (John McLaughlin) Orchestra, Claude Debussy, Bobby McFerrin, Kate Bush, Bjork, Sun Ra, Jonatha Brooke, Imogen Heap, Tanya Tagaq, Sheila Chandra, Lisa Gerrard, Arvo Part, Eric Whitacre, Bulgarian women’s choirs, East Indian classical, Tuvan singers.

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Kiva Simova now is making herself available for touring almost anywhere, and sharing her skills with adventurous singers.

Punk Inuit throat singer | Tanya Tagaq | TEDxMet

Punk Inuit throat singer | Tanya Tagaq | TEDxMet

Ajoutée le 30 sept. 2015

Tanya Tagaq accesses deep emotions and connections in her unusual and powerful performance. Inuk punk Tanya Tagaq has given her visceral, elemental performances from Canada’s Northwest Territories to Carnegie Hall. Her unique vocal expression is rooted in Inuit throat singing, but expands well beyond traditional culture to incorporate electronica, industrial, and metal influences. Tagaq has collaborated with artists ranging from opera singers to experimental DJs, and been honored with a string of Juno nominations. Her latest CD, Animism, features Michael Red, a live programmer whose wild northern field recordings often serve as her de facto backing band. This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at http://ted.com/tedx

Sarah Rogers: Should non-Inuit performers be allowed to throat sing?

Nunavut artist Kelly Fraser is interviewed at the 2018 Indigenous Music Awards. But the singer-songwriter said she won’t submit any more work to the organization until they address issues of cultural appropriation. (Photo courtesy of IMA)

Should non-Inuit performers be allowed to throat sing?

Throat singing is not a “pan-Indigenous free for all,” says Tanya Tagaq

By Sarah Rogers

A group of Inuit artists say they plan to boycott this year’s Indigenous Music Awards over concerns around cultural appropriation.

These Nunavut musicians, including Tanya Tagaq, Kelly Fraser and Kathleen Merritt (Iva), say they won’t participate in this or other awards until the organization that runs the event, the Manito Ahbee Festival, addresses the use of throat singing by a non-Inuk performer.

Cree performer Cikwes experiments with throat singing in some of her work. Her album ISKO is nominated as best folk album at this year’s Indigenous Music Awards, set to be handed out at a May 17 ceremony in Winnipeg.

Inuit artists say throat singing is a uniquely Inuit creation, not to be performed by other groups.

Tagaq, one of Nunavut’s best-known throat singers, said the art form is not a “pan-Indigenous free for all,” in a post on social media.

“Due to issues surrounding cultural appropriation, I will not be performing at, attending, nor submitting my work to the IMAs unless they revise their policies or have Inuit representation on the board for consultation,” Tagaq tweeted on March 31.

Other performers have since followed suit, demanding the music awards rescind Cikwes’ nomination.

Both Kelly Fraser and Iva said they will no longer submit their work or agree to perform at the music awards until the organization addresses their concerns.

Nunavut-born, Yellowknife-based throat-singing duo Piqsiq pulled their album, which was nominated this year for the IMA’s best electronic album.

“We look forward to submitting future work once our concerns of cultural appropriation are taken seriously and policies are in place to prevent it from happening again,” the group tweeted earlier this week.

A handful of other Inuit artists are nominated for awards this year, including Beatrice Deer, Aasiva and newcomer Angela Amarualik.

For its part, the festival’s board of governors said submissions are judged and selected by a group of music industry voters, who do not disclose their heritage, 39 of whom selected the nominees in the folk album category this year.

Cikwes’ nomination will stand, the organization said in an April 2 news release.

“We don’t presume to agree or disagree on this matter at this time, as it requires great reflection, ceremony and discussions on how we move forward in a good way,” the IMA said in a release.

“We have not dismissed this matter in any capacity. We recognize the importance of building representation and programming that shares common values.”

The organization said it intends to add an Inuit representative to its board of governors at its next AGM, as well as develop a policy on cultural appropriation for all artists submitting to the awards.

Throat singing, or katajjaq, comes from a long oral tradition practised among Inuit women. Although it’s often performed today as entertainment, throat singing developed as a game played by two participants.

Throat singers make sounds imitating sounds in nature, carrying on a rhythm until one person laughs or loses their breath.

Throat singing was discouraged and essentially banned for many decades by Christian missionaries when they arrived in Inuit communities in the early 20th century, but the practice saw a revival in the 1980s.

In 2014, Quebec designated throat singing as a part of the province’s cultural heritage—the first designation of its kind.

https://nunatsiaq.com/stories/article/should-non-inuit-performers-be-allowed-to-throat-sing/

Fantastic Inuit throat singing on TV show (Veronica Usholik)

Fantastic Inuit throat singing on TV show (Veronica Usholik)

Ajoutée le 11 mars 2019

Name of this song is – “The birth of Chukotka” In this song we can see how she mix Inuit throat singing and Modern music. https://www.kuularmusic.com/ – throat singing online masterclass

Jean-Jacques Nattiez: Jeux de gorge inuit et chants de gorge sibériens : une approche comparative, historique et sémiologique

PARU SOUS LE TITRE «
INUIT THROAT GAMES AND SIBERIAN THROAT SINGING
: A COMPARATIVE, HISTORICAL AND SEMIOLOGICAL APPROACH».1999.
ETHNOMUSICOLOGY, VOL. XLIII, NO3 (AUTOMNE),p.399-418.
Jeux de gorge inuit et chants de gorge sibériens : une approche comparative, historique
et sémiologique
110746-jean-jacques-nattiez
Jean-Jacques Nattiez
(Université de Montréal)

 

http://www.sqrm.qc.ca/wp-content/uploads/2017/10/Jeux-de-gorge-inuit-et-chants-de-gorge-siberiens-une-approche-comparative-historique-et-semiologique.pdf

Nattiez, Jean-Jacques : biographie

110746-jean-jacques-nattiez

Nattiez, Jean-Jacques

En 1970, Nattiez fut engagé à l’Université de Montréal, d’abord au dépt de linguistique et à celui d’études françaises, puis à la faculté de musique où il enseigne la musicologie depuis 1972. De 1974 à 1980, il y fut dir.

Nattiez, Jean-Jacques

 Jean-Jacques Nattiez. Musicologue (Amiens, France, 30 décembre 1945, naturalisé canadien 1975). L.èsL. modernes (Aix-en-Provence) 1967, Licence de linguistique (ibid.) 1968, M.èsL. modernes (ibid.) 1968, Certificat d’aptitude pédagogique à l’enseignement secondaire (Paris) 1970, doctorat 3e cycle (Paris) 1973. Il étudia la musique au Cons. d’Amiens et se consacra au piano en privé. Ses études universitaires furent vouées aux lettres et à la linguistique, d’abord à Aix-en-Provence puis, au doctorat, à Paris où il a soutenu une thèse sur la sémiologie musicale.En 1970, Nattiez fut engagé à l’Université de Montréal, d’abord au dépt de linguistique et à celui d’études françaises, puis à la faculté de musique où il enseigne la musicologie depuis 1972. De 1974 à 1980, il y fut dir. du Groupe de recherches en sémiologie musicale dont les travaux portèrent notamment sur les Préludes de Debussy et sur la musique des Inuit. Il est également dir. de la collection Sémiologie et analyse musicales aux Presses de l’Université de Montréal. Paru en 1975, son ouvrage Fondements d’une sémiologie de la musique, qui adapte des modèles de la linguistique structurale à l’analyse musicale, retint l’attention des musicologues du monde entier. En 1987, il en a publié une nouvelle version entièrement refondue sous le titre Musicologie générale et sémiologie. De 1980 à 1985, il fut corédacteur en chef des six premiers numéros de la Revue de musique des universités canadiennes. En 1991 paraissait aux Presses de l’Université de Montréal le premier numéro de Circuit, « revue nord-américaine de musique du XXe siècle » dont il est rédateur en chef. En 1981, Pierre Boulez lui proposa la codirection de la prestigieuse collection Musique/Passé/Présent chez l’éditeur Christian Bourgois (Paris). Outre les ouvrages de Nattiez, on y retrouve les écrits de Varèse, Berg, Hanslick, Kagel, etc., et trois volumes de Boulez dont il a préparé l’édition. Son livre Tétralogies « Wagner, Boulez, Chéreau », essai sur l’infidélité, paru en 1983, traite des détails d’interprétation dans l’oeuvre de Wagner, tandis que Wagner androgyne (1990) porte sur la relation entre la poésie et la musique dans ses opéras. Les autres ouvrages de Nattiez sont consacrés à l’influence de la musique dans l’oeuvre du romancier Marcel Proust, ainsi qu’à la sémiologie et la musicologie. Après avoir suivi des cours de direction d’orchestre avec Jacques Clément à Montréal, Fernand Quattrochi et Pierre Dervaux à Nice, et Charles Bruck à Hancock, Me, il fut dir. mus. de l’OS de Joliette-Lanaudière de 1984 à 1987.

À partir de 1973, Nattiez a donné de nombreuses conférences à travers le monde, notamment sur la sémiologie musicale, sur Wagner et Proust, ainsi que sur la musique des Inuit, plus particulièrement l’analyse de leurs jeux vocaux. Ses travaux sur la musique des Inuit ont mené à l’édition, en 1978 sur micr., des Chants et jeux des Inuit (collection Musical Sources de l’Unesco, Philips 6586036, Auvidis D-8032 et Auvidis AD-090), couronnés l’année suivante du Grand prix du disque de l’Académie Charles-Cros, et à celle, en 1989 sur CD, des Jeux vocaux des Inuit (Inuit du Caribou, Netsilik et Igloolik, Ocora C-559071). Pour la collection de l’Unesco, il collabora aussi à Chants des Aïnou (1982, Philips 6586045). Sa réédition sur micr. des enregistrements de musique de tradition orale réunis par l’ethnomusicologue roumain Constantin Brailoïu dans les années 1950, sous le titre Collection universelle de musique populaire enregistrée (1985, Musée d’ethnographie de Genève 6-VDE-30-425-340), lui valut un deuxième Grand prix Charles-Cros en 1987.

Boursier Killam du CAC (1988-90), Nattiez fut aussi élu membre de la Société royale du Canada en 1988. La même année, il se vit attribuer la médaille Dent de la Royal Musical Assn d’Angleterre pour l’ensemble de ses travaux. En 1989, l’Assn canadienne-française pour l’avancement des sciences lui décerna son Prix André-Laurendeau pour les sciences humaines. Récipiendaire du Prix Molson 1990, il fut nommé membre de l’Ordre du Canada la même année. Il a collaboré à l’EMC.

Lecture supplémentaire

  • Imberty, Michel. Review of Fondements d’une sémiologie de la musique, R française de musicologie, vol 63, No. 2, 1976Laske, Otto E. ‘Toward a musicology for the twentieth century,’ Perspectives of New Music, vol 15, No. 2, 1977

    Dunsby, Jonathan. ‘Music and semiotics: the Nattiez phase,’ MQ, vol 69, No. 1, 1983

    Cook, Nicholas. A Guide to Musical Analysis (London 1987)

    Dunsby, Jonathan and Whittall, Arnold. Music Analysis in Theory and Practice (New Haven, Conn. 1988)

    Brazeau, Jacques. ‘Présentation de M. Jean-Jacques Nattiez,’ Présentation à la Société royale du Canada, 42, 1988-9

    Boucher, Ginette. ‘Jean-Jacques Nattiez: à la recherche du langage des notes,’ Interface, Mar-Apr 1989

    Nattiez, Jean-Jacques. La musique, la recherche et la vie (Montreal 1999)

    The New Grove Dictionary

https://www.thecanadianencyclopedia.ca/fr/article/nattiez-jean-jacques-1