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

 

MARK 1.jpg

MARK 2

MARK 3

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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/

******************************************************************
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.

 

WU RUNG-SHUN, Le chant du Pasi but but chez les Bunun de Taiwan: une polyphonie sous forme de destruction et de recréation

Travaux récents

 

wu rung shun

Wu Rung Shun

Thèse de doctorat de l’Université de Paris X-Nanterre soutenue le 12 décembre 1996
p. 251-252

Référence(s) :

Wu Rung-Shun, Le chant du Pasi but but chez les Bunun de Taiwan: une polyphonie sous forme de destruction et de recréation. 2 tomes: 175 p.+ 301 p. + CD. Thèse de doctorat de l’Université de Paris X-Nanterre (Département d’ethnologie et de sociologie comparative), Directeur de thèse: Mireille Helffer

Texte intégral

1Ce travail porte sur un chant rituel – le pasi but but – destiné à favoriser la croissance du millet, nourriture de base pour les Bunun, un groupe aborigène de Taiwan. Ce chant comporte une forme polyphonique propre, distincte de celle des autres répertoires musicaux de l’ethnie Bunun.

2Dans une première partie, l’auteur s’efforce de situer le pasi but but dans la société, la culture et la musique traditionnelle des Bunun dont il présente brièvement les divers aspects.

3Dans la seconde partie, le sujet propre de la thèse est traité sous les trois angles de la fonction de ce chant particulier, des structures qu’il manifeste et des mutations qu’il a subies au cours des cinquante dernières années. En fait, ces trois facteurs s’interpénètrent inextricablement; mais, pour mieux comprendre les changements survenus à travers le temps et l’espace, il s’est avéré nécessaire d’examiner séparément:

  1. Le rôle original du pasi but but dans la société traditionnelle bunun, tel que le présentent les récits de la tradition orale, collectés dans différents villages. Ceci a permis d’élucider la relation triangulaire établie entre: croissance du millet, rites supposés favoriser cette croissance, chant choral masculin qui est au centre de ces rites.

  2. Les caractéristiques musicales des quinze versions enregistrées du pasi but but dont nous disposions.

  3. La structure de la polyphonie, telle qu’elle se dégage de la comparaison entre les différentes versions.

4Enfin, à partir de l’analyse de ces données, il a été tenté de comprendre selon quelles modalités le pasi but but s’était adapté à l’environnement nouveau dans lequel se trouvait placée la société bunun et quel noyau stable persiste aujourd’hui dans ce chant polyphonique devenu emblématique, non seulement des Bunun, mais, dans une certaine mesure, des aborigènes de Taiwan.

Haut de page

Pour citer cet article

Référence papier

« WU RUNG-SHUN, Le chant du Pasi but but chez les Bunun de Taiwan: une polyphonie sous forme de destruction et de recréation », Cahiers d’ethnomusicologie, 11 | 1998, 251-252.

Référence électronique

« WU RUNG-SHUN, Le chant du Pasi but but chez les Bunun de Taiwan: une polyphonie sous forme de destruction et de recréation », Cahiers d’ethnomusicologie [En ligne], 11 | 1998, mis en ligne le 07 janvier 2012, consulté le 31 décembre 2018. URL : http://journals.openedition.org/ethnomusicologie/1660

Haut de page

Bunun Men’s Choir: Posibutbut

Bunun Men’s Choir: Posibutbut

Ajoutée le 24 juil. 2007

Polyphonic chant, prayer for millet harvest. Bunun Men’s Choir, Taiwan 2004 Get better quality videos, mp3s, online throat-singing lessons, throat-and-overtone singing forum and lots more at http://khoomei.com

Bunun millet germination song Taiwan

Bunun millet germination song Taiwan

Ajoutée le 27 avr. 2011

The Bunun are one of the original communities of Taiwan, originating from the west coast but pushed back towards the centre by Chinese immigrants. At present they number about 35.000 and occupy the heart of the mountainous chain, dispersed into approximately 120 villages. Their beliefs are founded in the manipulation of the living, animals and millet.

Bunun millet germination song Taiwan

Prof. TSAI Chen-Gia’s publications

Tsai, Chen-Gia

Associate professor, Graduate Institute of Musicology

Ctr. for Neurobiology and Cognitive Science

National Taiwan University, Taiwan

Research Interests

Biomusicology, neuroesthetics, arts and medicine, affective science, music acoustics, Xiqu

Books

Tsai, C.G.*, & Chen, R.S. (2017). Structures and Emotions in Chinese Sentimental Ballads: A Perspective of Cognitive Psychology (in Chinese). Taipei: Faces Publishing LTD.

Tsai, C.G. (2013). The Cognitive Psychology of Music (in Chinese). Taipei: NTU Press.

Tsai, C.G. (2011). Alternative Watching/Listening: Brain Diseases and Voice Disorders in Performing Arts (in Chinese). Taipei: NTU Press.

Journal Articles

Tsai, C.G. (2018). The psychology of musical creativity: the self, executive control, and generation of creative ideas (in Chinese). Journal of National Taiwan University of Arts, 27.

Tsai, C.G., Chou T.L., & Li, C.W.* (2018). Roles of posterior parietal and dorsal premotor cortices in relative pitch processing: comparing musical intervals to lexical tones. Neuropsychologia, 119, 118-127. [SCI, IF=2.888]

Tsai, C.G., Du, W., & Chen, C.L.* (2017). Influence of literature music on the museum visitor experience: a case study of the Laiho Memorial Museum (in Chinese). Museology Quarterly, 31(3), 5-29.

Tsai, C.G., Li, C.W., Yeh, C.H., Chen, R.S., & Lin, Y.S.* (2017). Why do mandarin popular songs usually deal with break-ups? The therapeutic potential of sentimental ballads (in Chinese). Indigenous Psychological Research in Chinese Societies, 47, 371-420. [TSSCI]

Wu, M.T., & Tsai, C.G.* (2017). Emotional effects of Teresa Teng’s songs in Taiwanese healthy and disabled older adults (in Chinese). Journal of Humanities, Social Sciences and Medicine, 4, 119-138.

Tsai, C.G.*, & Hsia, L.T. (2107). Musical features and theatrical uses of Jin-La-Man-Chang rhythmic mode in Xiqu (in Chinese). Taipei Theatre Journal, 25, 105-128.

Wen, Y.C., & Tsai, C.G.* (2017). The effect of harmonization on cortical magnetic responses evoked by music of rapidly changing tonalities. Psychology of Music, 45(1), 22-35. [SSCI, IF=2.173]

Cheng, T.H., & Tsai, C.G.* (2016). Female listeners’ autonomic responses to dramatic shifts between loud and soft music/sound passages: a study of heavy metal songs. Frontiers in Psychology, 7, 182. [SSCI, IF=2.560]

Tsai, Y.H., & Tsai, C.G.* (2016). Emotional effects of the chorus scenes in musicals on audience: a study on Les Misérables and Chicago (in Chinese). Collected Papers on Arts Research, 25, 147-166.

Li, C.W., Chen, J.H., & Tsai, C.G.* (2015). Listening to music in a risk-reward context: the roles of the temporoparietal junction and the orbitofrontal/insular cortices in reward-anticipation, reward-gain, and reward-loss. Brain Research, 1629, 160-170. [SCI, IF=2.988]

Chen, C.L., & Tsai, C.G.* (2015). The influence of background music on the visitor museum experience: a case study of the Laiho Memorial Museum. Visitor Studies, 18(2), 183-195.

Tsai, C.G.*, & Chen, C.P. (2015). Musical tension over time: listeners’ physiological responses to the ‘retransition’ in classical sonata form. Journal of New Music Research, 44(3), 271-286. [SSCI, IF=0.771]

Tsai, C.G.*, Yang, C.M., Chen, C.C., Chen, I.P., & Liang, K.C. (2015). Relaxation and executive control processes in listeners: an exploratory study of music-induced transient suppression of skin conductance responses. Empirical Studies of the Arts, 33(2), 125-143. [SSCI, IF=0.370]

Chang, Y.H., Lee, Y.Y., Liang, K.C., Chen, I. P., Tsai, C.G.*, & Hsieh, S.* (2015). Experiencing affective music in eyes-closed and eyes-open states: an electroencephalography study. Frontiers in Psychology, 6, 1160. [SSCI, IF=2.560]

Tsai, C.G., Chen, C.C., Wen, Y.C., & Chou T.L.* (2015). Neuromagnetic brain activities associated with perceptual categorization and sound-content incongruency: a comparison of music and speech. Frontiers in Human Neuroscience, 9, 455. [SCI, IF=3.626]

Tzeng, N.S., & Tsai, C.G.* (2015). Dutuo and salvation in Beijing Opera Peng-Bei (Tragic Monument in Yang’s Saga) and Nan-Tien-Men (South Heavenly Gate): a study from the perspectives of psychiatry and audience psychology (in Chinese). Taipei Theatre Journal, 22, 25-50.

Tsai, C.G., & Tzeng. N.S.* (2015). Music therapy for the elderly: perspectives from cognitive neuroscience (in Chinese). Journal of Humanities, Social Sciences and Medicine, 2, 87-106.

Tsai, C.G.*, Chen, R.S., & Yu, S.P. (2014). Analyzing the verse-chorus form: schema shifts and musical rewards in lyrical-slow songs (in Chinese). Research in Applied Psychology, 61, 239-286.

Tsai, C.G.*, Chen, R.S., & Tsai, T.S. (2014). The arousing and cathartic effects of popular heartbreak songs as revealed in the physiological responses of listeners. Musicae Scientiae, 18(4), 410-422. [SSCI, IF=1.537]

Tan, W.H., Tsai, C.G., Lin, C., & Lin, Y.K.* (2014). Urban canyon effect: storm drains enhance call characteristics of the Mientien tree frog. Journal of Zoology, 294(2), 77-84. [SCI, IF=1.545] [reports: Nature, bioforum.tw]

Yang, I.H., & Tsai, C.G.* (2014). Plucking positions on the guzheng strings: timbral analysis and performance practice (in Chinese). Yin Yue Yan Jiu, 19, 1-30.

Tsai, C.G.* (2014). The emotional expressions and structure in Beijing opera Pong-Yin: combining performance analysis with audience’s physiological measures (in Chinese). Journal of Traditional Chinese Theater, 11, 125-161.

Chen, I.P.*, Lin, Z.X., & Tsai, C.G. (2013). A felt-emotion-based corpora of music emotions (in Chinese). Chinese Journal of Psychology, 55(4), 571-599. [TSSCI]

Tsai, C.G.* (2013). Relationships between musical emotions and music cognition: dialogues between aesthetics and psychology (in Chinese). Journal of Xinghai Conservatory of Music, 2013.2, 120-127.

Tsai, C.G.*, & Chen, R.S. (2012). Desire, resolution, and reward system: listeners’ emotional responses to musical cadences (in Chinese). Journal of National Taiwan University of Arts, 90, 325-345.

Tsai, C.G., Fan, L.Y., Lee, S.H., Chen, J.H., & Chou, T.L.* (2012). Specialization of the posterior temporal lobes for audio-motor processing – evidence from a functional magnetic resonance imaging study of skilled drummers. European Journal of Neuroscience, 35(4), 634–643. [SCI, IF=3.658]

Yang, W.C., & Tsai, C.G.* (2011). Telling the red myth with western music: the function and practice of musical schema shifts in model Beijing operas (in Chinese). Taipei Theatre Journal, 13, 131-157.

Tsai, C.G.*, Chen, C.C., Chou, T.L., & Chen, J.H. (2010). Neural mechanisms involved in the oral representation of percussion music: an fMRI study. Brain and Cognition, 74(2), 123-131. [SCI & SSCI, IF=2.547]

Tsai, C.G.* (2010). The song forms in cultures of humpback whales and songbirds: interdisciplinary perspectives of biomusicology (in Chinese). Huangzhong-Journal of Wuhan Music Conservatory, 2010.4, 129-134.

Tsai, C.G., Chen, C.L.*, & Lee, J.W. (2010). Literature soundscape in the museum: on the roles and functions of sound elements in literature exhibitions (in Chinese). Museology Quarterly, 24(1), 93-115.

Tsai, C.G.*, Wang, L.C., Wang, S.F., Shau, Y.W., Hsiao, T.Y., & Auhagen, W. (2010). Aggressiveness of the growl-like timbre: acoustic characteristics, musical implications, and biomechanical mechanisms. Music Perception, 27(3), 209-221. [SSCI, IF=1.068]

Tsai, C.G.* (2009). The Taiwanese horned fiddle: an example of exaptation of musical instruments (in Chinese). Huangzhong-Journal of Wuhan Music Conservatory, 2009.4, 129-134.

Tsai, C.G., Chen, J.H., Shau, Y.W., & Hsiao, T.Y.* (2009). Dynamic B-mode ultrasound imaging of vocal fold vibration during phonation. Ultrasound in Medicine & Biology, 35(11), 1812-1818. [SCI, IF=2.395]

Tsai, C.G.* (2009). Impure musical sounds: auditory model and harmonic-to-noise ratio (in Chinese). Guandu Music Journal, 10, 113-125

Tsai, C.G.* (2009). From propaganda to dramatic ornaments: arias and divertissements in modern Beijing operas in 1958-1976 (in Chinese). Taipei Theatre Journal, 10, 113-147.

Tsai, C.G.* (2008). String vibration with nonlinear boundary condition: an acoustical study of “blossoming tones” produced by the junhu (in Chinese). Huangzhong-Journal of Wuhan Music Conservatory, 2008.4, 168-173.

Tsai, C.G.* (2008). Madness by romantic identification: Brain diseases in Xiqu (in Chinese). Journal of Chinese Ritual, Theatre and Folklore, 161, 83-133. [TSSCI]

Tsai, C.G., Shau, Y.W., Liu, H.M., & Hsiao, T.Y.* (2008). Laryngeal mechanisms during human 4 kHz vocalization studied with CT, videostroboscopy, and color Doppler imaging. Journal of Voice, 22(3), 275-282. [SCI, IF=0.953]

Tsai, C.G.*, & Lin, Y.Y. (2008). Contributions of epilepsy research to the psychology of music (in Chinese). Journal of Xinghai Conservatory of Music, 2008.1, 31-37.

Tsai, C.G.* (2007). When Beijing Opera actors meet Beiguan Opera: an impartation project for Beiguan Opera by Xiao-Yiao Theater (in Chinese). Journal of Culture Resources, 3, 75-94.

Tsai, C.G.* (2006). Disease and composing: syphilis in Smetana, Wolf, and Schubert (in Chinese). Formosan Journal of Music Research, 3, 91-106.

Tsai, C.G.* (2006). Towards the cognitive psychology of Xiqu music: examples from Xi-Mei-Fong-Yun and Da-Tzei-Men (in Chinese). Performing Arts Journal, 12, 159-172.

Tsai, C.G.* (2005). Chaotic behavior of performers’ vocalizations: an interdisciplinary study of growl voices (in Chinese). Taipei Theatre Journal, 2, 39-62.

Tsai, C.G.* (2004). Absolute pitch: studies in cognitive psychology (in Chinese). Guandu Music Journal, 1, 77-92.

Tsai, C.G.* (2000). Fu-Lu Sheng-Qiang of Taiwanese Luan-Tan-Xi belongs to Luan-Tan-Qiang system: evidence from tunes and repertory (in Chinese). Journal of Chinese Ritual, Theatre and Folklore, 123, 43-88.

Tsai, C.G.* (1997). A comparison of Chinese Nan-Xi and opera comique: the structure of He-To and vaudeville final (in Chinese). Arts Review, 8, 163-185.

Tsai, C.G.* (1997). A preliminary study on music of Luan-Tan Xiao-Xi (in Chinese). Journal of Chinese Ritual, Theatre and Folklore, 106, 1-29.

[Chinese version / Home]

email :
tsaichengia@ntu.edu.tw

biography of Prof. Dr. TSAI Chen-Gia

院) Musicology (音樂學研究所) CHEN-GIA TSAI (蔡振家)
tsai chengia.jpg

Musicology (音樂學研究所)

JEN-YEN CHEN (陳人彥)
TUNG SHEN (沈冬)
CHEN-GIA TSAI (蔡振家)
YING-FEN WANG (王櫻芬)
YUH-WEN WANG (王育雯)
FUMITAKA YAMAUCHI (山內文登)
CHIEN-CHANG YANG (楊建章)

CHEN-GIA TSAI (蔡振家)
ORCID
teacher.alert

Musicology (音樂學研究所)
Associate Professor (副教授)
+886-2-3366-4691
tsaichengia@ntu.edu.tw
Website

teacher.Profile
teacher.Publications 44

teacher.Profile 2017-12-04 16:09:53
teacher.Education Ph.D. , Systematic Musicology , Humboldt-Universität zu Berlin (Humboldt University of Berlin) , Berlin , Germany, Federal Republic of Germany , 2004
teacher.CareerAndExperience teacher.CurrentPositions:

2011- Now, Associate Professor, Graduate Institute of Musicology, National Taiwan University, Taipei, Taiwan, ROC

teacher.Experiences:

2006- 2011, Assistant Professor, Graduate Institute of Musicology, National Taiwan University, Taipei, Taiwan, ROC
2006- 2006, Adjunct Assistant Professor, Graduate Institute of Musicology, National Taiwan University, Taipei, Taiwan, ROC

teacher.ResearchField

Chinese theater music
biomusicology
phoniatics
music acoustics
psychoacoustics

http://ah.ntu.edu.tw/web/Teacher!one.action?tid=2530

Tsai, Chen-gia, biography

Tsai, Chen-gia, biography

Chen-gia_Tsai

Tsai, Chen-gia

Assistant professor, Graduate Institute of Musicology, National Taiwan University

PhD (Musikwissenschaft), Humboldt-Universität zu Berlin

Research Interests

Biomusicology, music cognition, vocal fold dynamics, music acoustics, Chinese opera

Courses Opened

Music of local Xiqu; Music acoustics; Music, evolution and the brain; Feeling and representations of love: linguistic and musicological perspectives

Journal Articles

Tsai, C.G. (2010). The song forms in cultures of humpback whales and songbirds: interdisciplinary perspectives of biomusicology (in Chinese). Journal of Xinghai Conservatory of Music (in press)

Tsai, C.G., Chen, C.C., Chou, T.L., Chen, J.H. (2010). Neural mechanisms involved in the oral representation of percussion music: an fMRI study. Brain and Cognition 74(2): 123-131. [SCI & SSCI, IF=2.547]

Tsai, C.G., Chen, C.L., and Lee, J.W. (2010). Literature soundscape in the museum: on the roles and functions of sound elements in literature exhibitions (in Chinese). Museology Quarterly 24(1):93-115. [THCI]

Tsai, C.G., Wang, L.C., Wang, S.F., Shau, Y.W., Hsiao, T.Y., and Wolfgang Auhagen. (2010). Aggressiveness of the growl-like timbre: acoustic characteristics, musical implications, and biomechanical mechanisms. Music Perception 27(3):209-221. [SSCI, IF=1.714]

Lu, Y.H., and Tsai, C.G. (2009). Importance of motor imagery for music performance: Evidence from neuroscience (in Chinese). Guandu Music Journal 11:75-90.

Tsai, C.G., (2009). The Taiwanese horned fiddle: An example of exaptation of musical instruments (in Chinese). Huangzhong-Journal of Wuhan Music Conservatory 2009.4:129-134. [CSSCI]

Tsai, C.G., Chen, J.H., Shau, Y.W., and Hsiao, T.Y. (2009). Dynamic B-mode ultrasound imaging of vocal fold vibration during phonation. Ultrasound in Medicine & Biology 35(11):1812-1818. [SCI, IF=2.395]

Tsai, C.G. (2009). Impure musical sounds: auditory model and harmonic-to-noise ratio (in Chinese). Guandu Music Journal 10:113-125.

Tsai, C.G. (2009). From propaganda to dramatic ornaments: arias and divertissements in modern Beijing operas in 1958-1976 (in Chinese). Taipei Theatre Journal 10:113-147. [THCI]

Tsai, C.G. (2008). String vibration with nonlinear boundary condition: an acoustical study of “blossoming tones” produced by the junhu (in Chinese). Huangzhong-Journal of Wuhan Music Conservatory 2008.4:168-173. [CSSCI]

Tsai, C.G. (2008). Madness by romantic identification: Brain diseases in Xiqu (in Chinese). Journal of Chinese Ritual, Theatre and Folklore 161:83-133. [TSSCI]

Tsai, C.G., Shau, Y.W., Liu, H.M., and Hsiao, T.Y. (2008). Laryngeal mechanisms during human 4 kHz vocalization studied with CT, videostroboscopy, and color Doppler imaging. Journal of Voice 22(3):275-282. [SCI, IF=1.143]

Tsai, C.G., Lin, Y.Y. (2008). Contributions of epilepsy research to the psychology of music (in Chinese). Journal of Xinghai Conservatory of Music 2008.1:31-37.

Tsai, C.G. (2007). When Beijing Opera actors meet Beiguan Opera: An impartation project for Beiguan Opera by Xiao-Yiao Theater (in Chinese). Journal of Culture Resources 3:75-94.

Tsai, C.G. (2006). Disease and composing: Syphilis in Smetana, Wolf, and Schubert (in Chinese). Formosan Journal of Music Research 3:91-106.

Tsai, C.G. (2006). Towards the cognitive psychology of Xiqu music: Examples from Xi-Mei-Fong-Yun and Da-Tzei-Men (in Chinese). Performing Arts Journal 12:159-172.

Tsai, C.G. (2005). Chaotic behavior of performers’ vocalizations: an interdisciplinary study of growl voices (in Chinese). Taipei Theatre Journal 2:39-62.

Tsai, C.G. (2004). Absolute pitch: studies in cognitive psychology (in Chinese). Guandu Music Journal 1:77-92.

Tsai, C.G. (2000). Fu-Lu Sheng-Qiang of Taiwanese Luan-Tan-Xi belongs to Luan-Tan-Qiang system: evidence from tunes and repertory (in Chinese). Journal of Chinese Ritual, Theatre and Folklore 123:43-88.

Tsai, C.G. (1997). A comparison of Chinese Nan-Xi and opera comique: the structure of He-To and vaudeville final (in Chinese). Arts Review 8:163-185.

Tsai, C.G. (1997). A preliminary study on music of Luan-Tan Xiao-Xi (in Chinese). Journal of Chinese Ritual, Theatre and Folklore 106:1-29.

Conference Papers

Tsai, C.G. (2010). Oral representations of Beijing opera percussion music and jazz drum music: fMRI studies (oral). 「迎向21世紀台灣音樂學:全球化與跨文化」研討會,11月30日至12月2日,國立臺北藝術大學,臺灣

Chen, C.L., and Tsai, C.G. (2010). 〈博物館中的文學風景:台灣文學博物館發展與展示內涵之研究〉(oral). 「博物館展示的景觀」研討會,11月18-19日,國立臺北藝術大學,臺灣

Chen, I.P., and Tsai, C.G. (2010). Emotional attributes of music (oral). 「情緒標準刺激與反應常模的基礎研究」99年度計畫研討會,11月6日,國立中正大學,臺灣

Wang, L.C., and Tsai, C.G. (2010). Beat Perception through body movements: a case study of Nanguan, Beiguan and western classic music (oral). The 3rd International Conference of Students of Systematic Musicology, September13-15, 2010, Cambridge, UK.

Huang, P.L., and Tsai, C.G. (2010). Pitch glide in Chinese small gongs: effects of macrostructure and microstructure. International Symposium on Music Acoustics, 30-31 August, Sydney, Australia.

Tsai, C.G., Bai, M.R. (2010). An acoustical and historical study of the Taiwanese horned fiddle: Exaptation of musical instruments. International Symposium on Music Acoustics, 30-31 August, Sydney, Australia.

Cheng, J.Y., Tsai, C.G. and Lee, S.C. (2010). Bamboos as the material for saxophone reed. 20th International Congress on Acoustics, 23-27 August, Sydney, Australia.

Tsai, C.G., Auhagen, W., and Causse, R. (2009). The nonlinear membrane of Chinese flutes: its impacts on timbre and performance techniques (oral). 5th Conference on Interdisciplinary Musicology (CIM09). October 26-29, Paris, France.

Tsai, C.G. (2009). Possible impact of brain-imaging technology on the psychology of Asian music (oral). CUHK-NTU Music Forum 2009, 2-3 Jan 2009, Hong Kong, China.

Tsai, C.G. (2008). Emotional contents of the growl-like timbre: a study of biomechanics (oral). Taiwan Symposium on Musicology 2008, Tainan, Taiwan.

Tsai, C.G., Hsiao, T.Y., Shau, Y.W., and Wang, S.F. (2008). Aggressiveness of the growl-like timbre: acoustical features and biomechanical mechanisms (oral). 10th International Conference on Music Perception and Cognition, 25-29 August 2008, Sapporo, Japan.

Chen, J.H., Chang, M.D., Tsai, C.G., Hsiao, T.Y., and Shau, Y.W. (2008). On the application of PIV algorithms to the analysis of ultrasound images of vocal fold tissues during phonation. 13th International Symposium on Flow Visualization, Nice, France, July 1-4, 2008.

Tsai, C.G. (2008). Oral transmission of music: roles of the mirror neuron system in humans and humpback whales (oral). Mini-Symposium on Cultural Evolution & Human Ecology, 30 May, Taipei, Taiwan.

Tsai, C.G. (2007). Cognitive mechanisms revealed by some forms of animal song: chunking, working memory, and self-associative memory (oral). Taiwan Symposium on Musicology 2007, December 14-15, Taipei, Taiwan.

Tsai, C.G., Chen, J.H., Hsiao, T.Y., and Shau, Y.W. (2007). A seawater-seabed model of vocal fold vibration: in-vivo measurements of amplitude attenuation and phase lag (oral). International Symposium on Musical Acoustics, 9-12 September, Barcelona, Spain.

Tsai, C.G., Chen, C.C., Chen, D.Y., Chou, T.L., Chen, C.H., Lee, C.W. (2007). Musical memes and oral tradition: the role of an auditory mirror system in music transmission and cognition (oral). Music and Evolutionary Thought Conference, June 22-23, Durham, England.

Tsai, C.G. (2006). Inharmonic sounds of bowed strings in Western music and Beijing Opera (oral). 4th Joint Meeting of the Acoustical Society of America and the Acoustical Society of Japan, 28 November-2 December, Honolulu, Hawaii, USA.

Tsai, C.G., Shau, Y.W., and Hsiao, T.Y. (2006). Vocal fold wave velocity in the cover and body layers measured in vivo using dynamic sonography (oral). 7th International Conference on Advances in Quantitative Laryngology, Voice and Speech Research, October 6-7, 2006, Groningen, the Netherlands.

Tsai, C.G., Hsiao, T.Y., Shau, Y.W. and Chen, J.H. (2006). Towards an intermediate water wave model of vocal fold vibration: Evidence from vocal-fold dynamic sonography (oral). International Conference on Voice Physiology and Biomechanics, July 12-14 2006, Tokyo, Japan.

Tsai, C.G. (2005). Disease and composing: Syphilis in Smetana, Wolf, Schubert (oral). Taiwan Symposium on Musicology 2005, November 11-12, Taipei, Taiwan.

Tsai, C.G., Auhagen, W. (2005). Intonation, tone range and timbre of the Chinese flute (dizi): a Duffing oscillator model of the dizi membrane (oral). Symposium on Traditional Musical Instruments, September 10-11, 2005, Taipei, Taiwan.

Tsai, C.G. (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, Taiwan.

Tsai, C.G. (2004). The timbre space of the Chinese membrane flute (dizi): physical and psychoacoustical effects (invited). 148th Meeting of the Acoustical Society of America, November 15-19, San Diego.

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.

Chen, J.H., and Tsai, C.G. (2004). Experimental research of the flow field in a brass mouthpiece-like channel using Particle Image Velocimetry (poster). Proceedings of the International Symposium on Musical Acoustics, March 31-April 3, Nara, Japan.

Tsai, C.G. (2004). Auditory grouping in the perception of roughness induced by subharmonics: empirical findings and a qualitative model (oral). Proceedings of the International Symposium on Musical Acoustics, March 31-April 3, Nara, Japan.

Tsai, C.G. (2004). Helmholtz’s nasality revisited: physics and perception of sounds with predominance of upper odd-numbered harmonics (poster). Proceedings of the International Symposium on Musical Acoustics, March 31-April 3, Nara, Japan.

Tsai, C.G. (2003). Relating the harmonic-rich sound of the Chinese flute (dizi) to the cubic nonlinearity of its membrane (poster). Stockholm Music Acoustics Conference 2003, August 6-9, Stockholm, Sweden.

[Blog / Chinese version]

http://www.gim.ntu.edu.tw/gia/