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J Acoust Soc Am

. 1992 Oct;92(4 Pt 1):1827-36. doi: 10.1121/1.403839.

Acoustics and Perception of Overtone Singing

G Bloothooft¹, E Bringmann, M van Cappellen, J B van Luipen, K P Thomassen Affiliations

PMID: 1401528
DOI: 10.1121/1.403839

Abstract

Overtone singing, a technique of Asian origin, is a special type of voice production resulting in a very pronounced, high and separate tone that can be heard over a more or less constant drone. An acoustic analysis is presented of the phenomenon and the results are described in terms of the classical theory of speech production. The overtone sound may be interpreted as the result of an interaction of closely spaced formants. For the lower overtones, these may be the first and second formant, separated from the lower harmonics by a nasal pole-zero pair, as the result of a nasalized articulation shifting from /c/ to /a/, or, as an alternative, the second formant alone, separated from the first formant by the nasal pole-zero pair, again as the result of a nasalized articulation around /c/. For overtones with a frequency higher than 800 Hz, the overtone sound can be explained as a combination of the second and third formant as the result of a careful, retroflex, and rounded articulation from /c/, via schwa /e/ to /y/ and /i/ for the highest overtones. The results indicate a firm and relatively long closure of the glottis during overtone phonation. The corresponding short open duration of the glottis introduces a glottal formant that may enhance the amplitude of the intended overtone. Perception experiments showed that listeners categorized the overtone sounds differently from normally sung vowels, which possibly has its basis in an independent perception of the small bandwidth of the resonance underlying the overtone. Their verbal judgments were in agreement with the presented phonetic-acoustic explanation.

Cited by 1 article

Overtone focusing in biphonic tuvan throat singing. Bergevin C, Narayan C, Williams J, Mhatre N, Steeves JK, Bernstein JG, Story B. Elife. 2020 Feb 17;9:e50476. doi: 10.7554/eLife.50476. PMID: 32048990 Free PMC article.

MeSH terms

Fourier Analysis
Humans
Loudness Perception
Music*
Phonetics
Pitch Perception*
Psychoacoustics
Signal Processing, Computer-Assisted / instrumentation*
Sound Spectrography / instrumentation*
Speech Perception
Voice Quality*

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OVERTONE SINGING UMNGQOKOLO by Xhosa women from SOUTH AFRICA

26,127 views•May 16, 2012 258 7 Share Save QuangHai Tran 6.26K subscribers Prof.Dr. Dave DARGIE made the best video recordings from 1985 to 1998 in South Africa with Xhosa female singers . To obtain more information about Umngqokolo – Thembu Xhosa – Overtone singing, please contact Prof.Dr Dave Dargie,Ostpreussenstr 81, D-81927 München, GERMANY or write to him : email: dave.dargie@t-online.de

Undercurrents- Kiva and Wolfgang Saus

920 views•Sep 9, 2009 3 0 Share Save OMN 871 subscribers Undercurrent – Song by Kiva Šímová (E-Piano) http://www.kivaweb.com and Wolfgang Saus (Overtone Singing) http://www.oberton.org – Live at the Overtone Festival Prague 2009 http://www.alikvotnifestival.cz/ Soundtrack recorded by Wolfgang Saus http://www.oberton.org – Video recorded and created by Jens Mügge http://www.jensmuegge.eu

42 – Un atelier pour… découvrir le chant diphonique

364 views•Apr 21, 2020 9 1 Share Save JM France 228 subscribers Avec “Ma (Ré)création musicale”, les musiciens des JM France t’offrent un moment de musique “maison” : une occasion de s’aérer la tête, de chanter et même d’étonner ton professeur… Prêt à relever les défis proposés? Envoie ta contribution à : marecreationmusicale@gmail.com (*) DEFI N°42: Iannis Psallidakos te propose une initiation au chant diphonique. Le chant diphonique est une technique qui permet de produire en même temps deux notes de fréquences différentes : une spécificité vocale pratiquée depuis très longtemps dans de nombreuses régions du monde ! Suis bien les indications de Iannis… quand tu te seras bien entrainé, tu pourras chanter et même diriger ta chorale à la maison ! Entraîne-toi et envoie vite le résultat à ton professeur ou directement sur l’adresse suivante: marecreationmusicale@gmail.com (*). Bon courage à toi! (*) A noter : les contributions seront regroupées sur une plateforme privée, à l’attention des enseignants et des artistes. Une autorisation vous sera demandée, le cas échéant, pour toute diffusion en ligne.

SVEN GRAWUNDER: Comparison of voice production types of ‘western’ overtonesinging and South Siberian throat singing

Comparison of voice production types of ‘western’ overtonesinging and South Siberian throat singing

Sven Grawunder University of Halle, Germany

E-mail: grawunder@sprechwiss.uni-halle.de

ABSTRACT

The investigator uses a non-invasive methodology basedon a synchronous recording of voice, laryngographicsignal and subglottal resonance on 2 ‘European’overtone singers and 2 ‘Siberian’ semi-professionalthroat singers. For the upper registers of throat singing an extremely short contacting phase was obtained and SQseems to be appropriate to distinguish between both phonation types. Lower registers share doublet and triplet waveform patterns, but differ significantly in jitter and shimmer rates (j < 0.1; sh < 0.15 for ThS). Other findings are a narrowed bandwidth of a dominant F2 and an ostinato formant between F3 and F4, which are remarkable for all throat singing styles

https://www.academia.edu/3290854/Comparison_of_voice_production_types_of_western_overtone_singing_and_South_Siberian_throat_singing?email_work_card=title

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Rollin Rachele “Overtone Singing” Music Video

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SENGEDORJ NANJID (71 ans) TV ARTE

France Musique March 6 ·

‘Le chant diphonique mongol ne sera pas perdu, on l’a sauvé !’ Les techniques vocales du khöömii, la musique nationale de la Mongolie, sont transmises oralement en pleine nature.

Month: May 2020