Throat Singing

 

Exploring Pathways of Appreciation

To foster an awareness and appreciation of music by listening and coming to appreciate how the diverse application of shared elements of melody, harmony, rhythm, texture and form gives rise to such diverse expressive pathways showcasing an inner beauty of the human spirit.

Here are links to music performances showing diverse styles and performance as voiced around the world; each expressing a component part of a global diverse counterpoint of cultural contrast. Enjoy yourself and do check on the links.

Without support from authoritive references this site would not be possible.

In Counterpoint of Cultural Contrast

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"Throat Singing"

The little known art of throat singing can be heard below.

Throat singing is an art form that is virtually unknown in the West. Yet this kind of singing in various forms of voice production technique is heard through parts of China, Siberia and Arabia.

This Mongolian master produces incredible harmonics in his singing. Even a melody is produced through a layered harmonic reonances

Mongolian Incredible Throat Singing 呼麦

Khoomei or Humai (in China) is the most incredible and distinctive vocal performance in Mongolia. Sometimes described as throat singing. It is said that through this method, harmony of up to 4 layers can be produced at the same time!

John Pascuzzi is playing the "igil", and Steve Sklar is Throat-Singing. From an upcoming DVD and CD by Ron Mulvihill and Gris-Gris Films. John Pascuzzi at

http://aSingleThread.com http://oddm...

Overtone singing

From Wikipedia, the free encyclopedia

Overtone singing, also known as overtone chanting, or harmonic singing, is a type of singing in which the singer manipulates the resonances (or formants) created as air travels from the lungs, past the vocal folds, and out the lips to produce a melody.

The partials (fundamental and overtones) of a sound wave made by the human voice can be selectively amplified by changing the shape of the resonant cavities of the mouth, larynx and pharynx.[1] This resonant tuning allows the singer to create apparently more than one pitch at the same time (the fundamental and a selected overtone), while in effect still generating a single fundamental frequency with his/her vocal folds.

Another name for overtone singing is throat singing, but that term is also used for Inuit throat singing, which is produced differently.Jump to: navigation, search

Siberian Throat Singing

Here is one of the few examples of an avante gaurde 20th century composition utilizing overtone singing using a group of singers. The sound is erie yet beautiful. The focus is on vocal harmonic overtone production. ( see right)

Karlheinz Stockhausen - Stimmung

 

 sousukesagaraJKD September 27, 2009This is the first part from Stockhausen's masterpiece "Stimmung". Written for 6 singers, it's based on 21 combinations of "singer per note" referring to the same chord for all the piece (which is always the same, with few variations). The composition has 51 sections (moments) and it's the first important Western composition to be based entirely on the production of vocal harmonics.

"In each section a new overtone melody or 'model' is introduced and repeated several times. Each female voice leads a new section eight times, and each male voice, nine times. Some of the other singers gradually have to transform their own material until they have come into 'identity' with the lead singer of the section . . . by adopting the same . . . tempo, rhythm and dynamics. When the lead singer feels that 'identity' has been reached, he or she makes a gesture to another singer who leads the next section. Each model is a set of rhythmic phonetic patterns, often with actual words used as their basis, such as 'Hallelujah' or 'Saturday'.
In 29 of the sections, 'magic names' are called out. These are the names of gods and goddesses from many cultures—Aztec, aboriginal and Ancient Greek, for instance—and have to be incorporated into the character of the model. The erotic and intimate love-poems that are recited were written by Stockhausen 'during amorous days' in 1967. (Rose and Ireland 1986) "

 

Note: This site on "Global Music Appreciation" is a work in progress. Thie main purpose of being online at this point of development is to allow collaborators and friends to view the progress, make suggestions and provide comments.

You may find "scratch notes" concerning future implementaion of goals. Pages will still be partially complete or even blank.

Yet, there is still an ever-evolving growing selection of music from around the world linked too in this site. You are welcome to look, play and experience music as performed from around the world.

Sincerely

David