Cascadescan – Mark van Tongeren

Cascadescan – Mark van Tongeren

Published on Jun 21, 2019

Complete concert: https://www.youtube.com/watch?v=BhiMa… Live concert in the Oosterkerk, Amsterdam, Sunday 15/VII/2018. Poduced by Fusica / http://www.fusica.nl Video and audio recording and editing: Casper Steketee

The Ouroboros Concert (Sinan Arat / Mark van Tongeren)

The Ouroboros Concert (Sinan Arat / Mark van Tongeren)

Published on Nov 2, 2018

Sinan Arat (ney, voice) and Mark van Tongeren (voice, overtone singing, Jew’s harp, sruti box, bendir) meet for the very time and look for overlaps in their repertoires. Registration of a live concert in the Oosterkerk, Amsterdam, Sunday 15/VII/2018. Produced by Fusica / http://www.fusica.nl Playlist: 00:00 Ekmelia/Yörel (Mark van Tongeren) 03:21 Segah Taksim (Modal Improvisation on ney) (Sinan Arat) 05:42 Bass Brass (Jew’s harp) (Mark van Tongeren) 08:59 Segah Hymn Bana seni gerek seni (Music: Anonymous Lyrics: Yunus Emre (1238 – 1320) (Sinan Arat) 13:19 Voice of Bendir (Mark van Tongeren) 18:00 Cascadescan (Mark van Tongeren) 21:45 Human Condition (vocal improvisation) (Sinan Arat & Mark van Tongeren) 25:25 You Am (voice and sruti box) Mark van Tongeren) 34:00 Muhayyer Kurdi Taksim ( Modal Improvisation) 38:50 Muhayyer Hymn Uyan ey gozlerim (music: Ali Ufki Bey) (Sinan Arat) 41:09 Variations on the Yakut Khomus (Siberian Jew’s harp) (Mark van Tongeren) 46:35 Unknown Territories (Overtone singing and ney) (Sinan Arat & Mark van Tongeren) 53:35 Ah nice bir Uyursun Uyanmaz Misin (music: anonymous; lyrics: Yunus Emre) (Sinan Arat & Mark van Tongeren 55:50 Huseyni Hymn “Severim Ben Seni” (music: Anonymous; lyrics: Yunus Emre) (Sinan Arat & Mark van Tongeren) Video and audio recording and editing: Casper Steketee Thanks to Nanny Roed Lauridsen and The Oosterkerk, Amsterdam and to Fons Elders, part of the ouroboros phenomenon, for title suggestions. Produced by Fusica http://www.fusica.nl

You Am (Mark van Tongeren, voice, overtone singing, shruti box).)

You Am (Mark van Tongeren, voice, overtone singing, shruti box).)

Published on Jun 20, 2019

Complete concert: https://www.youtube.com/watch?v=BhiMa… Live concert in the Oosterkerk, Amsterdam, Sunday 15/VII/2018. Poduced by Fusica / http://www.fusica.nl Video and audio recording and editing: Casper Steketee

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?

Throat Singing A unique vocalization from three cultures

Soundscapes

Throat Singing

A unique vocalization from three cultures

Throat-singing, a guttural style of singing or chanting, is one of the world’s oldest forms of music. For those who think the human voice can produce only one note at a time, the resonant harmonies of throat-singing are surprising. In throat-singing, a singer can produce two or more notes simultaneously through specialized vocalization technique taking advantage of the throat’s resonance characteristics. By precise movements of the lips, tongue, jaw, velum, and larynx, throat-singers produce unique harmonies using only their bodies. Throat-singing is most identified with parts of Central Asia, but it is also practiced in northern Canada and South Africa where the technique takes on different styles and meanings.

Tuva

Tuva is a predominantly rural region of Russia located northwest of Mongolia. There, throat-singing is called Khöömei. Singers use a form of circular breathing which allows them to sustain multiple notes for long periods of time. Young Tuvan singers are trained from childhood through a sort of apprentice system to use the folds of the throat as reverberation chambers. Throat-singing in Tuva is almost exclusively practiced by men, although the taboo against women throat-singers, based on the belief that such singing may cause infertility, is gradually being abandoned, and some girls are now learning and performing Khöömei. The Tuvan herder/hunter lifestyle, with its reliance on the natural world and deeply-felt connection to the landscape, is reflected in this Tuvan vocal tradition. With their throat-singing, Tuvans imitate sounds of the natural surroundings—animals, mountains, streams, and the harsh winds of the steppe. Throat-singing was once only a folk tradition, practiced in the windy steppe, but it is now embraced as an emblem of Tuvan identity and more often performed by professionals in formal settings.

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Video: N. Sengedorj of Mongolia demonstrates Khöömei throat-singing.

Video

Video: Mark van Tongeren, an ethnomusicologist specializing in Khöömei, gives a lesson.

Inuit

The Inuit are the indigenous peoples of northern Canada. Unlike Tuvan throat-singing, the Inuit form of throat-singing is practiced almost exclusively by women. It is also a more communal form of singing than the Tuvan variety, usually performed in groups of two or more women. Their technique relies more on short, sharp, rhythmic inhalations and exhalations of breath. It was traditionally used to sing babies to sleep or in games women played during the long winter nights while the men were away hunting. Throat-singing was banned in the area over 100 years ago by local Christian priests, but it is experiencing a recent revival, especially among younger generations who believe that learning it from their elders connects them with Inuit strength and tradition.

Video

Video: Nukariik (Inuit) Sisters Karin and Kathy Kettler demonstrate traditional Inuit throat singing practiced by women in their community.

Xhosa

The Xhosa people of Bantu origins are indigenous to present-day southeast South Africa. Nelson Mandela and Desmond Tutu are famous Xhosa. The Xhosa people have a deep and unique style of throat singing, also called eefing. Two notes are produced one tone apart while higher tones embedded in overtones are amplified simultaneously. This low, rhythmic, wordless vocal style accompanies traditional call and response or group vocal songs. It also accompanies party songs and dances, adding a musical element that is distinctly Xhosa.

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Medley of various throat-singing
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Xöömei on Horseback

Kaigal-ool Khovalyg and Anatoli Kuular
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MARK VAN TONGEREN ‘s WORKSHOP OVERTONE SINGING in TAIWAN next weekend (23-24 March 2019)

MARK 0.jpg音初階工作坊/Beginners workshop Overtone Singing

SATURDAY 23 MARCH 2019 from 10:00am to SUNDAY 24 MARCH 2019 till 17:00 pm

 

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There is still place for curious people at my Beginners workshop Overtone Singing next week in Taipei (Saturday/Sunday). Learn and practise the basics of this amazing technique. Attune your ears to the hidden dimensions of the human voice.

Discover a type of harmony that is unlike any other musical harmony, one that is woven into the fabric of our bodies and minds. In fact, as I see it, sound is at the center of this body-mind divide. These dormant harmonies can be activated once we break through habitual patterns of listening and voicing, and begin to catalyze a process of re-tuning our body (for example, our voice) and our minds (for example, our listening).

The sort of work we do is both creative and meditative.
It encompasses actively exploring and searching, as well as quietly observing so that these sounds, living in us and through us, may start to catch our attention.
It requires some radical, experimental body-mind-work to awaken the slumbering senses, as well as slow, deep sound meditations.

Altogether, these two days offer you a powerful and diverse set of ideas and practices that you can also explore on your own once you get home. Many people claim to start listening differently after taking part in overtone singing workshops.

The location is fantastic, close to the city but actually already in the Yangmingshan Park area. And if you need or like, you can stay overnight (bring your own sleeping mat/bag).

https://www.facebook.com/events/259048704990108/〔課程內容〕�3月23到24日,星期六跟星期日,我會帶領一個兩天的泛音歌唱工作坊,給想學習泛音歌唱技巧的人。這個工作坊對所有人開放,不限音樂知識或歌唱經驗。��這個工作坊給音樂家及非音樂家的介紹課程。其內容包含了暖身運動以發展身體、心靈以及聲音的覺知,還有自然人聲共鳴的探索的基本技巧。接下來,我們會開始學習音泛音歌唱的技巧。��我們也會聆聽以及嘗試不同的泛音歌唱技巧。結合所有人的聲音來嘗試簡單直覺性的聲音架構,以及編曲概念。

當然,想要在一兩天內學會泛音歌唱是不可能的(雖然坊間很多宣稱可以馬上學會的廣告)。不過在兩天的工作坊中,你可以感受跟理解歌手要如何唱出清楚的泛音,透過現場感受聲音而增進聽力的細膩度,你也可以開始探索你未來可能想持續探索的歌唱方式、聲音。親身經歷,現場感受對於熟悉泛音(人類聲音的一個面向之一)非常重要。

每位參與者也會得到老師的個別指導,以了解自己的聲音與如何開始增進泛音技巧。��課程語言為英文,加上中文翻譯。

【日期】: 3/23 (六)、3/24 (日)

【時間】: 10:00-17:00 (中間午休一小時)

【學費】: 新台幣4500元

【折扣1】: 兩人同行8000元 (原價為9000元)

【折扣2】: 學生或不富裕的藝術家 原價75折 (3375元)��【地點】: 陽明山

〔心得分享〕

〔心得分享〕�馬克老師的泛唱,一點也不美聲,即使他可以輕易地呈現雲端般的夢幻…�他的聲音超越了美,對我而言,那是真實,包容了好聽 及無法定義的奇幻!�就像生命,不是只有追求完美與巔峰。�生命從磨練裡,醞釀甜美….。

有一場演出,馬克老師說: 他一開始發出的聲音{很醜}! 哈~{醜}的聲音?!

像大漠裡枯槁的皮鞭或樑柱,已經被風沙刮得乾澀。�但是就從這又乾又緊的單音裡起飛,聲音拉出了空間和視野,並再次降落…�我在這個過程中十分感動,比對美聲的感動還要多。

大家千萬別誤會,馬克老師曾經在荷蘭女皇面前獻唱,也曾和馬友友合作。�1995年獲頒吐瓦的 《國際喉音泛唱獎》; 2000年出版 Overtone Singing一書。�他是一位樸素的國際級老師,擁有完整專業的喉音泛唱素養。�重要的是: 當你明白馬克是如何對聲音臣服,如何忠於自己的心

我們對聲音的包容與感受,也會大大被感染與擴大!

【課程資訊與報名】�好奇嗎?請來電或來信了解詳情

中文: ly.sunny.chen@gmail.com / lineID: soleilc77 陳亮伃

英文: info@fusica.nl Mark van Tongeren

【匯款帳號 】

請完成匯款後填寫報名表,我們會在幾日內確認細節並與您聯繫。

銀行: 中國信託敦南分行(代號:822)

帳號: 163540306745

戶名:MARK CHRISTIAAN VAN TONGEREN

【報名表】

https://goo.gl/forms/GuxgUME2VScT6Fkm1

近期活動!
Weekly Voice yoga classes in Taipei:
https://www.facebook.com/events/2279668682315497/
WORKSHOP Overtone Singing – advanced. Friday 19 – Sunday 21 April, Puli.
ALL UPCOMING EVENTS:
https://www.fusica.nl/events/
https://www.facebook.com/Mark-van-Tongeren-209604665837789/events/

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WORKSHOP OVERTONE SINGING for BEGINNERS
******************************************************************

On Saturday and Sunday March 23-24, I will teach a two-day overtone singing workshop, for those who want to get to know more about this singing technique. The workshop is open to all who are interested, with or without musical/singing experience.

This basic workshop is an introduction to that approach for musicians and non-musicans alike. It includes warm-up exercises to develop attention for body, mind and sound, exploring basic techniques for using the resonances of the natural voice. Then we will start our exploration of overtone techniques.

We will listen to and try more specific techniques for singing harmonics, and combine voices to work with simple, intuitive sound structures and intuitive compositional ideas.

Of course it is not possible to learn overtone singing in two days (despite some claims you find here and there). But you can get a sense of what goes on when singers produce clear overtones, sharpen your hearing in a live, acoustic situation, and get started on something you might want to explore further in the future. To hear this technique live from close by is a very important way to get familiar with this aspect of the human voice.

Every participant will get some personal feedback about his/her voice and how to get started with the technique.

The workshop is in English with Chinese translation.

Dates: Saturday March 23 + Sunday March 24
Time: 10:00-17:00 (lunch break 13:00-14:00)
Cost: 4500 NT$
Bring a friend: pay 8000 instead of 9000 NT$
Students, pensioners and poor struggling artists: – 25% (3375 NT$).
Place: Artists’ community at Yangminshan, a few kilometers behind National Palace Museum. About 15 minute walk up the mountain, with stairs.

OVERNIGHT STAY
For those who travel from far, it is possible to stay overnight. Write us for details.

INFO & REGISTRATION
If you don’t read Chinese and are interested to join, or if you have any questions drop me an email (mark@fusica.nl) to get all the details.
Phone 09 103 827 49
Write to ly.sunny.chen@gmail.com for info in Mandarin.

REGISTRATION LINK
https://goo.gl/forms/GuxgUME2VScT6Fkm1

PAYMENT
Payment upon registration by bank.
Bank code: 822.
Name of bank: China Trust
Beneficiary: Mark Christiaan van Tongeren
Account number: 163540306745
Make sure to provide the payment details in registration form. We will confirm reception in a few days time.

 

MARK VAN TONGEREN’s BIOGRAPHY

Biography
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photo by Jochem Hartz

Mark van Tongeren is a sound explorer and performance artist with a PhD in artistic research from Leiden University. He did ground-breaking research and vocal experiments in the field of overtone singing, which he began studying around 1990. He feels equally at home ‘in the field’ to study and practice indigenous vocal techniques, as in experimental performance art, using voice, small instruments and/or electronics.

He received his M.A. in ethnomusicology from the University of Amsterdam and has taught world music at the Royal Conservatory in The Hague. His PhD from the Academy of Creative and Performing Arts at Leiden University explores the boundaries of science and art and is entitled Thresholds of the Audible: about the Polyphony of the Body. During his PhD studies he founded a vocal laboratory (Paraphony) to develop little known aspects of multi-voiced harmonic singing. He created a series of compositions for two or more voices, called 0… (‘Nulpunten’ or ‘Zero-points’), which make audible hundreds of possible connections or permutations within the natural harmonic series, so that it ‘encounters itself.’ The results were presented in 2010 and 2013 by Mark van Tongeren and Rollin Rachelle, aka the Superstringtrio, in the performances entitled 0… and Incognito Ergo Sum in Amsterdam and Poland. Composer Paul Oomen also conducted the three-hour Overtone Singing Marathon held at the occasion of van Tongeren’s PhD defense in 2013.

MARK BIOGRAPHY 0

Incognito Ergo Sum with Rollin Rachele

He began his performance carreer with the artists – contructors of Silo Theatre of Amsterdam (De Parade, Oerol), where he did sound-design, and created live and recorded soundtracks (1992 until 1998). In 1999 he presented new vocal works in The Trumpets of Jericho, alongside the Trivento organ of the project’s initiator Horst Rickels, and singing ‘with’ and ‘through’ Tjeerd Oostendorp’s 7-meter long tuba. In 2001 he was artist-in residence at the School of Music of Victoria University in Wellington, New Zealand for Jack Body’s Secret Sounds project, producing the CD-Rom Secret Sounds and several performances. with Phil Dadson (NZ), Leo Tadagawa (JP) and Bennicio Sokong (PH). At the Silk Road Festival in Washington, D.C. he performed as a throat singer with the festival’s initiator – cellist Yo-Yo Ma – over one of Johann Sebastian Bach’s cello suites (2002).

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throat singing with cellist Yo-Yo Ma at the Smithsonian Folklife/Silk Road Festival

From 1995 onward van Tongeren has made solo appearances as a singer in the Netherlands, Russia, Spain, Finland, Germany, New Zealand, Belgium, China, the USA and most recently in Taiwan (Taipei, Chiayi). In 1995 he received a special prize at the International Throat Singing Festival in Tuva, Siberia (the same festival documented for the famous Gengghis Blues documentary).

He is featured on CD-ROM’s and DVDs, including Secret Sounds (an audio-visual guide to overtone singing and Jew’s harps with Jack Body; Ode Records); Raum Klang Stimme / Space Sound Voice (documentary about overtone singing by Minghao Xu; Traumzeit Verlag). His CDs include Paraphony-Extended Harmonic Techniques, a solo exploration of the resonances of the voice and space (Ode Records), Etos (with Oorbeek, Nice Noise Foundation) and Sphere by his ensemble Parafonia (Fusica). Horst Rickels’ piece Lift-Off, written for Parafonia, is also featured in Jiska Rickels’ award winning documentary Four Elements. Van Tongeren is featured prominently on Deer Woman, composed by Taiwanese film music composer Cincin Lee with Van Tongeren as a soloist. This CD was nominated for Taiwan’s Golden Melody Awards 2008.

An unusual collaboration was his involvement in the realisation of the world première of a work by the renowned Russian composer Dimitri Shoshtakovich (1906-1975), 28 years after his death. He assisted conductor Mark Fitz-Gerald at restoring the lost score of the film Odna (“Alone”), by directors Kozintsev and Trauberg (1931). Van Tongeren transcribed an original piece of Altay throat singing that was used for the film and took part in several screenings of Odna with live music, including the 2003 world première in The Netherlands. In 2008 Naxos published Fitz-Gerald’s CD recording in Germany with van Tongeren’s singing.

In 2002 Fusica published the book Overtone Singing – Physics and Metaphysics of Harmonics in East and West (Fusica/Eburon), the fruit of over 10 years of scholarly and artistic research on this vocal technique. It is the first book-CD to document comprehensively the traditional and modern forms of this unusual vocal art. It exemplifies Van Tongeren’s interest to fuse intuitive and creative processes of singing and art with theoretical issues and critical reflection.

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Van Tongeren began extending his array of small, toy and ethnic instruments, as well as a Korg Kaoss Pad, while playing with Oorbeek, an Amsterdam-based collective of artists exploring the boundaries of sound and visual art. Oorbeek is one of his most enduring collaborations. Though very un-typical for Oorbeek, their televised adaptation of John Cage’s 4’33” was selected in 2017 as one of the pearls of 70 years Holland Festival.

He played with Collision Palace, an Amsterdam-based improv collective led by Nathan Fuhr (NYC), in John Zorn’s game piece Cobra. In New Zealand he collaborated with former Scratch Orchestra member Phil Dadson and Japanese singer/performer/bandleader Makigami Koichi in Off the Wall: Vocal Acrobats.
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He provided electronic/vocal soundtracks for several animation video’s by Oorbeek’s Serge Onnen, displayed in New York and in MOCA Taipei, and took part in several of Onnen’s live shadowperformances with Oorbeek or as a duo on in Beijing.
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In Taipei Onnen and van Tongeren presented new works for video/shadow/sound at the Taipei Artist Village (together with composer/guzheng player Tung Chao-Ming) and Lacking Sound Festival. Also in 2014, he began collaborating with the dancers of Biao/Horse, in a project produced for the Chang Kai Shek National Theatre in Taipei collaborating with pianist Lee Shih-Yang and cellist Chen Yu-Rong. More dance collaborations followed, with Biao’s Yeh Ming-Hwa (2015, 2016, 2017) and with Taipei Dance Circle.
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As a teacher, Van Tongeren gave a one-minute crash course of overtone singing for His Royal Highness the Aga Khan and secretary of state Colin Powell at the opening ceremony of the Silk Road / Smithsonian Folklife Festival in Washington, D.C. (2002). (usually learning to sing overtones takes longer, though). He has taught overtone singing workshops and courses for exploring/integrating the dynamics of voice, mind and body at various universities (Victoria School of Music, Wellington NZ; TNUA, Taipei TW) and privately. He teaches semester-long courses at National Cheng-Chi University’s creative department (X-Academy) in Taipei. Since 2012 he offers weekly Voice Yoga classes at Canjune and since 2014 a year-long Resonance course in Taipei.
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An enduring passion and artistic influence are local musical traditions from around the world. Since the 1990s Van Tongeren has studied music, singing and ritual in Siberia and Russia (Tuva, Altay, Khakassiya, Kalmukiya), Mongolia, India (Tibetan monks in Dharamsala), Sardinia and Corsica (polyphonic singing) and Taiwan. His move to Taiwan prompted a further study of its indigenous music and dance, particularly through the traditions of the Bunun and Saisiyat tribes. In Israel, Dutch composer Merlijn Twaalfhoven organised yearly events to empower Palestinian artist in East-Jeruzalem. In 2010, Twaalfhoven invited composer Paul Oomen, who guided a unique meeting between Firaz Gazzaz, a well-known Palestinian muezzin (reciter of the koran), and van Tongeren.

Since 2010 Van Tongeren lives in Taiwan with his wife June and his children Attar and Illy.

download biographie artistique-MvT.pdf
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One thought on “Biography”

maisa van der Kolk
09/08/2015 at 19:56

BEste Mark, Geen idee waar ik u kan bereiken, maar uw naam kreeg ik van Jan Van Dijk van de Univeriteit Amsterdam.Ik ben bevriend met zijn vrouw Leontien. Wij zijn druk bezig een cultureel centrum op te starten in Edam. Zelf organiseer ik inmiddels 5 jaar maandelijkse wereldmuziekconcerten en ben altijd op zoek naar bijzondere uitingen in de volksmuziek.Volgend jaar hopen we in ons centrum ook films te draaien met een mogelijkheid daar na afloop over te praten. Ik dacht aan Meeting with Remarkable Men van Gurdjieff en dan zou het geweldig zijn om ook live boventoonzang te beluisteren.Wie weet is er eenmogelijkheid om uw zang te beluisteren als u eens in Nederland bent. U kunt me antwoorden via de mail:maisavanderkolk@ziggo.nl , Met groet, Maisavan der Kolk.
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