WIKIPEDIA : TUVAN THROAT SINGING

Tuvan throat singing

From Wikipedia, the free encyclopedia Jump to navigation Jump to search “Khoomei” redirects here. For the particular style of Tuvan throat singing with the same name, see § Khoomei.

The Alash ensemble, a throat singing band from Tuva

Tuvan throat singing, which main technique is known as khoomei (Tuvan: хөөмей, romanized: xöömej, Mongolian: хөөмий, romanized: khöömii, Russian: хоомей, Turkish: höömey), includes a type of overtone singing practiced by people in Tuva, Mongolia, and Siberia. In 2009, it was included in the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO. The term hömey / kömey means throat and larynx in different Turkic languages.^[1]^[2]^[3] That could be borrowed from Mongolian khooloi, which means throat as well, driven from Proto-Mongolian word *koɣul-aj.^[4]

Overview

In Tuvan throat singing, the performer produces a fundamental pitch and—simultaneously—one or more pitches over that.^[5] The history of Tuvan throat singing reaches far back. Many male herders can throat sing, but women have begun to practice the technique as well. The popularity of throat singing among Tuvans seems to have arisen as a result of geographic location and culture. The open landscape of Tuva allows for the sounds to carry a great distance. Ethnomusicologists studying throat singing in these areas mark khoomei as an integral part in the ancient pastoral animism still practiced today. Often, singers travel far into the countryside looking for the right river, or go up to the steppes of the mountainside to create the proper environment for throat-singing.^[6]

The animistic world view of this region identifies the spirituality of objects in nature, not just in their shape or location, but in their sound as well.^[7] Thus, human mimicry of nature’s sounds is seen as the root of throat singing. An example of this is the Tuvan story of the waterfall above the Buyant Göl (Deer River in Tuvan), where mysterious harmonic sounds are said to have attracted deer to bask in the waters, and where, it is said, harmonic sounds were first revealed to people.^{[citation needed]} Indeed, the cultures in this part of Asia have developed many instruments and techniques to mimic the sounds of animals, wind, and water.^{[citation needed]} While the cultures of this region share throat singing, their styles vary in breadth of development.

Ordinarily, melodies are created by isolating the 6th, 7th, 8th, 9th, 10th and 12th partial in accordance with the harmonic series. Thus, if the fundamental frequency were C3, the overtones would be G5, B♭5, C6, D6, E6, G6. However, it is possible to reach as low as the 2nd and as high as the 24th.^{[citation needed]} The fundamental pitch is typically around E and G below middle C, and this affects the range of partials the singer can reach, with higher partials more easily reached on lower notes, and vice versa.

An illustration of the harmonic series in musical notation. The numbers above the harmonic indicate the number of cents difference from equal temperament (rounded to the nearest cent). Blue notes are flat and red notes are sharp.

The people of Tuva have a wide range of throat singing vocalizations, and were the pioneers of six pitch harmonics.^[8] There are several different classification schemes for Tuvan throat singing. In one, the three basic styles are khoomei, kargyraa and sygyt, while the sub-styles include borbangnadyr, chylandyk, dumchuktaar, ezengileer and kanzyp. In another, there are five basic styles: khoomei, sygyt, kargyraa, borbangnadyr and ezengileer. The substyles include chylandyk, despeng borbang, opei khoomei, buga khoomei, kanzyp, khovu kargyraazy, kozhagar kargyraazy, dag kargyraazy, Oidupaa kargyraazy, uyangylaar, damyraktaar, kishteer, serlennedyr and byrlannadyr.^[9] These schemes all use Tuvan terminology.

Khorekteer

Khorekteer refers to the “chest voice”. This is the voice that throat singers use when using khoomei, kargyraa, or any other harmonic-inducing style. The term can also be used to refer to all styles of Tuvan throat singing, much like khoomei. It can also refer to the feeling of chest resonance or pressure that one experiences when throat singing. Khorekteer is often used as a launching pad into the khoomei, sygyt, or kargyraa styles of throat singing.

Khoomei

The most popular style of Tuvan throat singing is known as khoomei (or khöömei, in Cyrillic: xөөмей). Khoomei is traditionally a softer sounding style, with the fundamental (or drone) usually in the low-mid to midrange of the singer’s normal voice. In this style, usually 2 or 3 harmonics can be heard between one and two octaves above the fundamental. In khoomei, the abdomen is fairly relaxed, and there is less tension on the larynx than in other styles. Pitch is manipulated through a combination of movements of the lips, throat, tongue or jaw.

Singing in this style gives the impression of wind swirling among rocks.^[10]

The term khoomei is also used as a generic term to designate all throat singing techniques in this region.

Sygyt

Sygyt (in Cyrillic: cыгыт), literally ‘whistling’, has a midrange fundamental and is characterized by strong, flute-like or rather piercing harmonics, reminiscent of whistling. Also described^{[according to whom?]} as an imitation of the gentle breezes of summer, the songs of birds, the ideal sound for the harmonics is called Чистый звук—Russian for clear sound.

To perform sygyt, the tongue rises and seals around the gums, just behind the teeth. A small hole is left back behind the molars, either on the left or right side. The sound is then directed between the teeth to the front of the mouth. The lips form a bell-like shape, usually with an “ee” vowel, and the sound is directed through this small opening. Pitch is manipulated exactly the same way as in khoomei style.^[11]

Kargyraa

The more deep sounding style of throat singing is known as kargyraa (in Cyrillic: kаргыраа). Kargyraa has a deep, almost growling sound to it and is technically related to Sardinian bass singing in Canto a Tenore choirs, and also to Tibetan Buddhist chant and has some similarities with the way Popeye‘s cartoon voice was created. It uses both the vocal and the vestibular folds (also known as “false vocal cords”) simultaneously, creating two connected sources of sound.

By constricting the larynx, the vestibular folds can be brought together (adducted) and, under certain conditions, vibrate. It can produce an undertone exactly half the frequency of the fundamental produced by the vocal folds. Therefore, for each second vibration of the vocal folds, the vestibular fold completes a whole vibration cycle. While the larynx generates such rich sound, the mouth cavity may be shaped, just like in the manipulation of vowels, to select some particular harmonics, resulting in a sound that may be perceived as having different pitches simultaneously.

This vocal mechanism has been elucidated and shown to be similarl to Sardinian bassu, which is one of the four voices of Sardinian “canto a tenore” choirs. It is also similar to the chant practiced in Tibet by the Gyuto monastery and other Buddhist orders.^[12]^[13]^[14]

There are two types of kargyraa: dag (mountain) and xovu (steppe). The Dag style is deeper, while xovu is raspier and sung at a higher pitch with more throat tension and less chest resonance.^[15]^[16] There are also the distinctive kargyraa styles of Vladimir Oidupaa and Albert Kuvezin, the latter also bearing the name kanzat. This is sometimes described^{[according to whom?]} as the howling winds of winter or the plaintive cries of a mother camel after losing her calf.

Effects and other styles

Of the following list, two effects that commonly employed in the khoomei, sygyt and kargyraa styles: Borbangnadyr and Ezengileer.

Borbangnadyr (Борбаңнадыр) is a trill reminiscent of birds and traveling brooks, made by rapid movements of the tongue. Another effect that is usually added to this style is the light quivering of the lips, called “byrlang”.^[17]
Ezenggileer (Эзеңгилээр) is a pulsating style, attempting to mimic the rhythms of horseback riding. It is named after the Tuvan word for stirrup, ezengi.
Chylandyk (Чыландык) is simultaneous sygyt and kargyraa. This creates an unusual sound of low undertones mixed with the high Sygyt whistle. It has also been described as the “chirping of crickets.” A careful listener can further break down this style into Dag Chylandyk and Xovu Chylandyk.
Dumchuktaar (Думчуктаар) could be best described as “throat humming”. The singer creates a sound similar to sygyt using only the nasal passage. The word means to sing through the nose (dumchuk). The mouth does not need to be closed, but of course, it demonstrates the point better.^{[citation needed]}

Women in Tuvan throat singing

A member of Tyva Kyzy

There were a few female throat singers in Tuva’s history, though it was believed a woman performing throat singing could hurt her male relatives and cause her difficulties during childbirth.^{[citation needed]} Choldak-Kara Oyun, the mother of the famous throat singer Soruktu Kyrgys and grandmother of the husband of famous Tuvan actress Kara-Kys Namzatovna Munzuk, throat sang throughout her life while milking her cows, singing lullabies to her children and sometimes while she was drinking Tuvan araga (fermented milk alcohol). Close relatives of famous singers, like Khunashtaar-ool’s niece (in the 1960s) and Kombu’s daughter (in the 1940s or 1950s), performed khoomei (throat singing) in public more than once. The wife of the throat singing shaman Bilek-ool from Manchurek, Aldinsova Tortoyavna, said that she has always sung khoomei “because it was innate to [her] from birth.” She could not resist singing khoomei after she got married and had children, and sang khoomei in public in the 1950s and 1960s. But her sister, who also sang khoomei as a girl, gave up when others repeatedly reminded her of the supposed dangers.

Valentina Salchak performed throat singing in public in 1979. Valentina Chuldum from Mongun-Taiga (1960 – Autumn 2002) toured European countries as a throat singer in the early 1990s. With the start of the International Symposium of Khoomei women could sing publicly there.

Tyva Kyzy (Тыва Кызы, pronounced [tɯˈva kɯˈzɯ]) (Daughters of Tuva, in Tuvan language), founded in 1998, is an all-female folk ensemble performing Tuvan throat singing, under the direction of Choduraa Tumat. It is the first and only women’s group in Tuva that performs all styles of Tuvan throat singing.^[18]

In popular culture

Igor Kөshkendey of Chirgilchin

A performance of The Hu at Rock im Park 2019

Richard Feynman, a Nobel Prize–winning prankster physicist, took an interest in Tuvan throat singing and attempted to travel to Tuva in the 1980s, near the end of his life when he was gravely ill from cancer. Although Feynman never made it to Tuva, his daughter visited there in 2009 and met with Tuvan throat singers during her trip.^[19]
- The Quest for Tannu Tuva is a 1988 documentary film about Feynman’s quest that was produced for the BBC TV series Horizon; it was also repackaged with American narration and titled The Last Journey of a Genius for the PBS series Nova in 1989.
- Tuva or Bust! is a book published in 1991 by Ralph Leighton, a biographer and longtime friend of Feynman who had tried to go to Tuva with him. The book includes a flexi disc recording of Tuvan throat singing.
Yat-Kha is a band formed in 1991 and led by Tuvan throat singer Albert Kuvezin that performs a mixture of Tuvan traditional music and rock.
Huun-Huur-Tu is a band formed in 1992 that incorporates Tuvan throat singing in its performances and has performed internationally since soon after its inception.
Chirgilchin is a Tuvan musical group formed in 1996 led by Igor Koshkendey, who won the Grand Prix of the International Throat Singing Competition in 1998, 2000, and 2002.
K-Space is a British-Siberian experimental improvisation music ensemble formed in 1996 that features the Tuvan throat singer Gendos Chamzyryn.
Tyva Kyzy is an all-female folk ensemble formed in 1998 that performs Tuvan throat singing and has performed internationally.
Genghis Blues is a 1999 documentary film that won the Sundance Film Festival Audience Award for a Documentary and was nominated for an Academy Award for Best Documentary Feature, centers on the journey of blind American singer Paul Pena to Tuva to pursue his interest in Tuvan throat singing.
Alash is an ensemble of Tuvan musicians and throat singers formed at the Kyzyl Arts College in 1999 that has performed internationally since 2006.
The Tuvan National Orchestra, formed in 2003, often features Tuvan throat singing and includes performances by internationally known artists, including members of Alash, Chirgilchin, Huun-Huur-Tu, and Tyva Kyzy.
Batzorig Vaanchig, a member of the band Khusugtun, which was a runner-up on Asia’s Got Talent in 2015, is a Mongolian throat singer with tens of millions of views on YouTube.^[20]
The Hu is a band formed in 2016. Hailing from Mongolia, the band blends rock and heavy metal with traditional Mongolian instrumentation, including Mongolian throat singing and the Morin khuur (also known as the horsehead fiddle).^[21] The Hu calls their style of music “hunnu rock”, with hu being a Mongolian root word for “human”.^[22] In 2018, the band made its debut at Download Festival in Donington. A song by the Hu, “Black Thunder”, was created for the 2019 videogame Star Wars Jedi: Fallen Order.^[23] A different version of the song was then translated and recorded by the Hu from the original Mongolian to a new fictional Star Wars language created by the band, with guidance from the game’s developers. This version, “Sugaan Essena”, was used for the game.^[24]^[25]

MP3 audio examples

References

“Hoomey”. “Doğadan gelen ses: Türk gırtlak müziği”. http://www.trthaber.com (in Turkish). Retrieved 2021-05-23. Malkoç, Tülün; Çeli̇k, Sibel (2020-09-15). “TUVA TÜRKLERİ’NDE HÖÖMEY SÖYLEME BİÇİMİ”. Avrasya Uluslararası Araştırmalar Dergisi (in Turkish). 8 (23): 58–74. doi:10.33692/avrasyad.735271. ISSN 2147-2610. “Proto-Mongolian Throat Meaning”. starling.rinet.ru. Retrieved 2021-06-09. Aksenov, A. N. Tuvan Folk Music. Asian Music, Vol. 4, No. 2 (1973), pp. 7–18. Slobin, Mark. Ethnomusicology. Volume 36, No. 3, Special Issue: Music and the Public Interest. (1992), pp 444-446. Levin, Theodore (2006). When Rivers and Mountains Sing. Bloomington, Indiana: Indiana University Press. ISBN 0-253-34715-7. Levin, Theodore C.; Edgerton, Michael E. (September 1999). “The Throat Singers of Tuva”. Scientific American. 281 (3): 80–87. Bibcode:1999SciAm.281c..80L. doi:10.1038/scientificamerican0999-80. PMID 10467751. “International Scientific Centre ‘Khoomei'”. Khoomei.narod.ru. Retrieved 27 November 2008. “Video demonstrating khomeii style”. Khoomei.com. [1] Leonardo., Fuks, (1999). From air to music : acoustical, physiological and perceptual aspects of reed wind instrument playing and vocal-ventricular fold phonation. KTH (Royal Institute of Technology). OCLC 44025655. Fuks et al., 1998 Lindestad et al., 2001 Alden-ool Sevek (1995). “Dag (Muntain)Kargyraa”. (MOV video). khoomei.com. Kaigal-ool. “Orphan’s Lament”. (MOV video). khoomei.com. “Kaigal-ool sings his heart out in several khoomei styles.” “An excellent example of Borbangnadyr”. “TYVAKYZY.COM”. http://www.tyvakyzy.com. Oyun, Dina (14 June 2009). “Daughter of Nobel laureate Richard Feynman is visiting Tuva”. Tuva Online. Retrieved 17 June 2021. “Batzorig Vaanchig”. youtube.com. “Steppe change: how Mongolian rock band the Hu conquered the world”. The Guardian. 22 October 2019. Retrieved 23 February 2020. “The Hu: Mongolian Folk-Metal Sensations Aim to Conquer the World”. Revolver. 13 September 2019. Retrieved 23 February 2020. November 2019, Alyssa Mercante 19 (19 November 2019). “Star Wars Jedi: Fallen Order just made a Mongolian rock band canon”. gamesradar. Retrieved 26 February 2020. https://www.youtube.com/watch?v=gGcem7JFvEg

“How Mongolian Band the HU Made a Song for ‘Star Wars’ in an Alien Language”. 18 February 2020.

Bibliography and further reading

Emory, Michael. Khomeii-How To’s and Why’s. 7 March 2007. http://www.fotuva.org/music/emory.html
Fuks L., Hammarberg B. and Sundberg J. “A self-sustained vocal-ventricular phonation mode: acoustical, aerodynamic and glottographic evidences”, KTH TMH-QPSR 3/1998, 49–59, Stockholm.
Lindestad, P. A., Sodersten, M., Merker, B. and Granqvist, S. “Voice source characteristics in Mongolian throat singing studied with high-speed imaging technique, acoustic spectra, and inverse filtering”. Journal of Voice, vol. 15, no. 1, pp. 78–85, 2001
Levin, Theodore C. and Edgerton, Michael. The Throat Singers of Tuva. Scientific American. September 1999 Vol. 81 Issue 3 p. 80

External links

Khoomei.com
Michael Emory—tutorial on beginning throat singing.
The Friends of Tuva—general information as well as links to artists and recordings
A demonstration of throat singing (YouTube video)
The Art of Tuva Throat Singing, On Point Radio, aired January 13, 2006
Audio and video samples of Tuvan throat singing styles

v t e Russia articles

v t e Mongolia articles

v t e Turkic topics

v t e UNESCO Oral and Intangible Heritage of Humanity: Music

Categories:

WIKIPEDIA: Throat singing

Throat singing

From Wikipedia, the free encyclopedia Jump to navigation Jump to search

Throat singing refers to several vocal practices found in different cultures around the world^[1]^[2]^[3]^[4]. The most common feature of such vocal sounds is producing the sensation of more than one pitch at a time, i.e., the listener perceives two or more distinct musical notes when the singer is producing a single vocalization. Throat singing, therefore, consists of a wide range of singing techniques that originally belong to some particular cultures and seem to share some sounding characteristics that make them especially noticeable by other cultures and users of mainstream singing styles^[5]^[6]^[7]^[8]^[9]. Probably, the term originates from the translation of the Mongolian word Xhöömei , that literally means throat^[10].

The term is not precise, because any singing technique involves the sound generation in the “throat”, i.e., the voice produced at the level of the larynx, which includes the vocal folds and other structures^[7]^[11]^[12]^[9] . Therefore it would be, in principle, admissible to refer to classical operatic singing or pop singing as “throat singing” for instance. However, the term throat is not adopted by the official terminology of anatomy and is not technically associated with most of the singing techniques. Furthermore, “singing with the throat” may be a demeaning expression for many individuals and communities of singers, because it may imply that the singer is using a high effort for voice production, resulting in a rather forced or non-suitable voice. In spite of being a term frequently used in the literature starting in the 1960’s, some contemporary scholars tend to avoid the use of throat singing as a general term.

Throat singing techniques may be classified under (1) an ethnomusicological approach: considering the various cultural aspects, the association to rituals, religious practices, storytelling, labor songs, vocal games, and other contexts; (2) a musical approach: considering their artistic use, the basic acoustical principles, and the physiological and mechanical procedures to learn, train and produce them.

Types of throat singing

The most commonly referred types of throat singing techniques, present in musicological and ethnomusicological texts, are generally associated with ancient cultures:

Tuvan throat singing, a form of singing, comprising several techniques, practiced in the Republic of Tuva, belonging to the Russian federation.^[13]^[14]^[15]^[1]
Mongolian throat singing, a form of singing, comprising several techniques, practiced in Mongolia^[16]^[2]
Buddhist chant, found in some monasteries in India (Tibetan exiled communities) and Tibet, sometimes involving vocal-ventricular phonation, i.e., combined vibrations of the (true) vocal folds and the (false) ventricular folds, achieving very low pitches.^[17]^[2]^[18].
Inuit throat singing, the kind of duet as an entertaining contest, practiced by the aboriginal Inuit cultures in Canada (formerly called Eskimos) and other territories in the Arctic Circle^[19]
Rekuhkara, formerly practiced by the Ainu ethnic group of Hokkaidō Island, Japan^[20]
Cantu a tenore, or Sardinian throat singing, found in the Italian Island of the same name ^[21].

In musically related terms, throat singing refers among others, to the following specific techniques:

Overtone singing, also known as overtone chanting, or harmonic singing. This is the singing style more commonly associated with throat singing.^[22]^[23]^[24]
Undertone singing^[25] i.e., techniques that comprise subharmonics, generated by the combined vibrations of parts of the singing apparatus at a certain frequency and frequencies that correspond to integer divisions of such frequency, such as 1:2, 1:3, and 1:4 ratios.^[8]
Diplophonic voice, i.e., techniques that consist of parts of the singing apparatus vibrating at non-integer ratios, are usually regarded as associated with pathological processes – see diplophonia.^[26]
Growling voice – consists of a technique of growling, which employs structures of the vocal apparatus located above the larynx, vibrating at the same time as the vocal folds, particularly the aryepiglottic folds.^[27]
Vocal Fry,^[28] a technique associated to vocal fry register.

MP3 audio examples[edit | edit source]

Kargyraa.mp3
Khoomei.mp3
Sound samples, by Leonardo Fuks, at the Royal Institute of Technology, Sweden.

External links

Look up throat singing in Wiktionary, the free dictionary.

Throat Singing in Kangirsuk, a 2019 Canadian short documentary film
Mongolian traditional art of Khöömei https://ich.unesco.org/en/RL/mongolian-traditional-art-of-khoomei-00396
Throat-singing article from Encyclopaedia Britannica https://www.britannica.com/art/throat-singing
Webpage from Tran Quang Hai, one of the main and pioneer throat singing performers and researchers in the world

References

Aksenov, A. N. (1973). “Tuvin Folk Music”. Asian Music. 4 (2): 7. doi:10.2307/833827. Lindestad, P. A.; Södersten, M.; Merker, B.; Granqvist, S. (2001). “Voice source characteristics in Mongolian “throat singing” studied with high-speed imaging technique, acoustic spectra, and inverse filtering”. Journal of Voice: Official Journal of the Voice Foundation. 15 (1): 78–85. doi:10.1016/S0892-1997(01)00008-X. ISSN 0892-1997. PMID 12269637. Kob, Malte; Henrich, Nathalie; Herzel, Hanspeter; Howard, David; Tokuda, Isao; Wolfe, Joe (2011-09-01). “Analysing and Understanding the Singing Voice: Recent Progress and Open Questions”. Current Bioinformatics. 6 (3): 362–374. doi:10.2174/157489311796904709. ISSN 1574-8936. Sundberg, Johan (2015). Die Wissenschaft von der Singstimme. Wissner-Verlag. ISBN 978-3-89639-959-5. OCLC 1001652162. Story, Brad (2019-04-11), Welch, Graham F.; Howard, David M.; Nix, John (eds.), “The Vocal Tract in Singing”, The Oxford Handbook of Singing, Oxford University Press, pp. 144–166, doi:10.1093/oxfordhb/9780199660773.013.012, ISBN 978-0-19-966077-3, retrieved 2021-10-01 Mergell, Patrick; Herzel, Hanspeter (1997). “Modelling biphonation — The role of the vocal tract”. Speech Communication. 22 (2–3): 141–154. doi:10.1016/S0167-6393(97)00016-2. Lindblom, B. E.; Sundberg, J. E. (1971). “Acoustical consequences of lip, tongue, jaw, and larynx movement”. The Journal of the Acoustical Society of America. 50 (4): 1166–1179. doi:10.1121/1.1912750. ISSN 0001-4966. PMID 5117649. Fuks, L, B Hammarberg, J Sundberg (1998). “A self-sustained vocal-ventricular phonation mode: acoustical, aerodynamic and glottographic evidences” (PDF). KTH TMH-QPSR: 49–59. Edmondson, Jerold A.; Esling, John H. (2006). “The valves of the throat and their functioning in tone, vocal register and stress: laryngoscopic case studies”. Phonology. 23 (02): 157–191. doi:10.1017/S095267570600087X. ISSN 0952-6757. Walcott, Ronald (1974). “The Chöömij of Mongolia: A Spectral Analysis of Overtone Singing”. SELECTED REPORTS IN Ethnomusicology. Volume II, No. 1 1974. Story, B. H.; Titze, I. R.; Hoffman, E. A. (1996). “Vocal tract area functions from magnetic resonance imaging”. The Journal of the Acoustical Society of America. 100 (1): 537–554. doi:10.1121/1.415960. ISSN 0001-4966. PMID 8675847. Johan, Sundberg, (2007). Röstlära : fakta om rösten i tal och sång. Johan Sundberg. ISBN 978-91-633-0485-9. OCLC 862100792. Grawunder, Sven (2009). On the physiology of voice production in South-Siberian throat singing : analysis of acoustic and electrophysiological evidences. Berlin: Frank & Timme. ISBN 3-86596-995-X. OCLC 844248903. Levin, Theodore (2019). Where rivers and mountains sing : sound, music, and nomadism in tuva and beyond. Valentina Süzükei. Bloomington: Indiana University Press. ISBN 978-0-253-04502-7. OCLC 1125296084. Levin, T. C.; Edgerton, M. E. (1999). “The throat singers of Tuva”. Scientific American. 281 (3): 80–87. doi:10.1038/scientificamerican0999-80. ISSN 0036-8733. PMID 10467751. Adachi, S.; Yamada, M. (1999). “An acoustical study of sound production in biphonic singing, Xöömij”. The Journal of the Acoustical Society of America. 105 (5): 2920–2932. doi:10.1121/1.426905. ISSN 0001-4966. PMID 10335641. Smith, Huston; Stevens, Kenneth N.; Tomlinson, Raymond S. (1967). “On an Unusual Mode of Chanting by Certain Tibetan Lamas”. The Journal of the Acoustical Society of America. 41 (5): 1262–1264. doi:10.1121/1.1910466. ISSN 0001-4966. Pillot, Claire (1997). “Les voix du monde. Une anthologie des expressions vocales”. Cahiers de musiques traditionnelles. 10: 333. doi:10.2307/40240285. ISSN 1015-5775. Nattiez, Jean-Jacques (1999). “Inuit Throat-Games and Siberian Throat Singing: A Comparative, Historical, and Semiological Approach”. Ethnomusicology. 43 (3): 399. doi:10.2307/852555. Nattiez, Jean-Jacques (1983). “The Rekkukara of the Ainu (Japan) and the Katajjaq of the Inuit (Canada): A Comparison”. The World of Music. 25 (2): 33–44. ISSN 0043-8774. Mercurio, Paolo (2013). Introduzione alla musica sarda : de musica sardiniae, praefatio. Narcissus. ISBN 978-88-6885-013-5. OCLC 955227257. Kob, Malte (2004). “Analysis and modelling of overtone singing in the sygyt style”. Applied Acoustics. 65 (12): 1249–1259. doi:10.1016/j.apacoust.2004.04.010. Bergevin, Christopher; Narayan, Chandan; Williams, Joy; Mhatre, Natasha; Steeves, Jennifer KE; Bernstein, Joshua GW; Story, Brad (2020-02-17). “Overtone focusing in biphonic tuvan throat singing”. eLife. 9: e50476. doi:10.7554/eLife.50476. ISSN 2050-084X. PMC 7064340. PMID 32048990. Bloothooft, G.; Bringmann, E.; van Cappellen, M.; van Luipen, J. B.; Thomassen, K. P. (1992). “Acoustics and perception of overtone singing”. The Journal of the Acoustical Society of America. 92 (4 Pt 1): 1827–1836. doi:10.1121/1.403839. ISSN 0001-4966. PMID 1401528. Švec, Jan G.; Schutte, Harm K.; Miller, Donald G. (February 1996). “A Subharmonic Vibratory Pattern in Normal Vocal Folds”. Journal of Speech, Language, and Hearing Research. 39 (1): 135–143. doi:10.1044/jshr.3901.135. ISSN 1092-4388. Herzel, Hanspeter; Reuter, Robert (1996). “Biphonation in voice signals”. AIP Conference Proceedings. Mystic, Connecticut (USA): AIP. 375: 644–657. doi:10.1063/1.51002. Sakakibara, K-I, Fuks L, Imagawa H (2004). Growl Voice in Ethnic and Pop Styles. Nara, Japan: Proceedings of the International Symposium on Musical Acoustics, ISMA 2004.

Lindsey, Geoff (2019), “Chapter 27 Vocal Fry”, English After RP, Cham: Springer International Publishing, pp. 95–96, retrieved 2021-10-01

Categories:

WIKIPEDIA : Huun-Huur-Tu

Huun-Huur-Tu

Huun-Huur-Tu en concert à Tioumen en 2012.

Pays d’origine	Touva ( Russie)
Genre musical	Folklorique touvain (Turcique), Chant diphonique
Années actives	1992 –
Site officiel	www.huunhuurtu.com

Membres	Kaigal-ool Khovalyg, Sayan Bapa, Radik Tyulyush, Alexei Saryglar
Anciens membres	Alexander Bapa

modifier

Huun-Huur-Tu (en touvain : Хуун-Хуур-Ту ou Хүн Хүртү, Khün Khürtü) est un groupe originaire de Touva, une république russe située au Sud de la Sibérie, à la frontière Nord-Ouest de la Mongolie. Huun-Huur-Tu se caractérise principalement par son interprétation de la musique traditionnelle touvaine (une culture régionale mongole), en utilisant exclusivement des instruments traditionnels touvains et plus généralement mongols (morin khuur, guimbarde…). Le groupe exécute notamment des chants chamaniques en utilisant le khöömei (littéralement chant de larynx), en français chant diphonique, typique des musiques traditionnelles mongoles¹.

Sommaire

Description

Parmi les différents morceaux de leur répertoire, on peut citer divers chants classiques touvains comme Kongurei (albums et « Best – Live » et « 60 Horses In My Herd – Old Songs and Tunes of Tuva ») et une interprétation de l’Internationale touvaine (sur « 60 Horses in My Herd – Old Songs and Tunes of Tuva »), hymne national de la République de Touva.

Ils ont joué avec le Moscow Art Trio (trio d’art Moscou) et avec Angelite pour l’album « Mountain Tale ».

Albert Kuvezin (touvain : Альберт Кувезин), un des fondateurs du groupe, chantant le khöömei dans le style kargyraa, l’a ensuite quitté, pour créer la formation Yat-Kha, jouant de la musique plus contemporaine, mais toujours inspirée de la musique touvaine².

Kaigal-ool Khovalyg (touvain : Кайгал-оол Ким-оол оглу Ховалыг), autre fondateur, est le principal chanteur du groupe, berger jusqu’à l’âge de 21 ans, il a commencé sa carrière musicale au sein de l’ensemble d’état touvain, à Kyzyl, pendant une dizaine d’années. Il le quitte pour former Huun-Huur-Tu avec Sasha et Sayan Bapa en 1992. Il pratique le Khöömei dans les styles khöömei et kargyraa, et a une tessiture de basse et de ténor. À côté de ce groupe, il joue également dans d’autres formations aux styles musicaux différents tels que le World Groove Band, le Valkov Trio, avec le russe Vladimir Aleksandrovich Volkov (ru), et le groupe ethno-jazz multi-culturel Vershki Da Koreshki, entre autres, avec le sénégalais Mola Sylla, devenu depuis VeDaKi³.

En 2014, le groupe effectue une tournée en Chine, intitulée From Tuva to Beijing (De Tuva à Pékin), pendant laquelle ils jouent notamment, le 13 décembre 2014 au Zaoshanghao, à Chengdu, capitale de la province du Sichuan⁴.

Formation du Groupe

Kungürtük (Күңгүртүк, 1992), Khun-Khütü (Хүн-Хүртү, 1993 — 1994)
Kaigal-ool Khovalyg (touvain : Кайгал-оол Ким-оол оглу Ховалыг) Aleksandr Bapa (touvain : Александр Бапа) Cayan Bapa (touvain : Саян Бапа) Albert Kuvezin (touvain : Альберт Кувезин)
Khün-Khürtü (Хүн-Хүртү, 1994 — 1995)
Kaigal-ool Khovalyg (Кайгал-оол Ховалыг) Aleksandr Bapa (Александр Бапа) Cayan Bapa (Саян Бапа) Anatolii Kuular Анатолий Куулар)
(1995 — 2003)
Kaigal-ool Khovalyg (Кайгал-оол Ховалыг) Aleksei Saryglar (Алексей Сарыглар) Cayan Bapa (Саян Бапа) Anatolii Kuular Анатолий Куулар)
(2003 — 2005)
Kaigal-ool Khovalyg (Кайгал-оол Ховалыг) Aleksei Saryglar (Алексей Сарыглар) Cayan Bapa (Саян Бапа) Andrei Mongush (Андрей Монгуш)
Chyldan Tura (чылдан тура 2005)
Kaigal-ool Khovalyg (Кайгал-оол Ховалыг) Aleksei Saryglar (Алексей Сарыглар) Cayan Bapa (Саян Бапа) Radik Tyulyush (tyv) (Радик Түлүш)

Discographie

Albums studio

1993 : 60 Horses in My Herd – Old Songs and Tunes of Tuva
1994 : The Orphan’s Lament
1997 : If I’d Been Born An Eagle
1999 : Where Young Grass Grows
2004 : Altai Sayan Tandy-Uula
2010 : Ancestors Call

Albums en public

2001 : Live 1 (connu aussi sous le titre Best * Live)
2001 : Live 2
2003 : More Live

Collaborations

1996 : Fly, Fly my Sadness, avec Le Mystère des voix bulgares & Angelite
1997 : Early Music (Lachrymae Antiquae), avec le Kronos Quartet
1998 : Mountain Tale, avec Le Mystère des voix bulgares & Angelite
2003 : Spirits From Tuva – REMIXED, avec différents DJ
2004 : Broken Rhythms, avec Trilok Gurtu
2007 : Bahamut, avec Hazmat Modine
2008 : Mother-Earth! Father-Sky!, avec Sainkho Namtchylak
2009 : Eternal, avec Carmen Rizzo

Références

(fr) « Huun Huur Tu » [archive] (en) « Albert Kuvezin and Yat-Kha » [archive], sur Weirdest Band in the World.com, 18 juin 2014 (en) Craig Harris, « Kaigal-ool Khovalyg » [archive], sur All Music

(en) « From Tuva to Chengdu: Interview with Sayan Bapa from Huun-Huur-Tu » [archive], sur Kiwese.co.nz, 19 décembre 2014

Voir aussi

Liens externes

Site officiel [archive]Notices d’autorité

Catégories :

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WIKIPEDIA : Tuvan throat singing

Tuvan throat singing

From Wikipedia, the free encyclopedia Jump to navigation Jump to search

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The Alash Ensemble

Tuvan throat singing, Khoomei, Hooliin Chor (in Mongolian, ‘throat harmony’), or Turkic throat singing is one particular variant of overtone singing practiced by people in Mongolia, Inner Mongolia, Tuva and Siberia. In 2009, it was inscribed on the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO, under the name Mongolian art of singing, Khoomei.^[1]

In Mongolian throat singing, the performer produces a fundamental pitch and—simultaneously—one or more pitches over that.^[2] The history of Mongolian throat singing reaches far back. Many male herders can throat sing, but women are beginning to practice the technique as well. The popularity of throat singing among Mongolians seems to have arisen as a result of geographic location and culture. The open landscape of Mongolia allows for the sounds to carry a great distance. Ethnomusicologists studying throat singing in these areas mark khoomei as an integral part in the ancient pastoral animism still practiced today. Often, singers travel far into the countryside looking for the right river, or go up to the steppes of the mountainside to create the proper environment for throat-singing.^[3]

The animistic world view of this region identifies the spirituality of objects in nature, not just in their shape or location, but in their sound as well.^[4] Thus, human mimicry of nature’s sounds is seen as the root of throat singing. An example of this is the Mongolian story of the waterfall above the Buyant Göl (Deer River in Tuvan), where mysterious harmonic sounds are said to have attracted deer to bask in the waters, and where it is said harmonic sounds were first revealed to people.^{[citation needed]} Indeed, the cultures in this part of Asia have developed many instruments and techniques to mimic the sounds of animals, wind, and water.^{[citation needed]} While the cultures of this region share throat singing, their styles vary in breadth of development.

Ordinarily, melodies are created by isolating the 6th, 7th, 8th, 9th, 10th and 12th partial in accordance with the harmonic series. Thus, if the fundamental frequency were C3, the overtones would be G5, B♭5, C6, D6, E6, G6. However, it is possible to reach as low as the 1st and as high as the 24th.^{[citation needed]} The fundamental pitch is typically around a G below middle C, and this affects the range of partials the singer can reach, with higher partials more easily reached on lower notes, and vice versa.

The people of Tuva have a wide range of throat singing vocalizations, and were the pioneers of six pitch harmonics.^[5] There are several different classification schemes for Tuvan throat singing. In one, the three basic styles are khoomei, kargyraa and sygyt, while the sub-styles include borbangnadyr, chylandyk, dumchuktaar, ezengileer and kanzyp. In another, there are five basic styles: khoomei, sygyt, kargyraa, borbangnadyr and ezengileer. The substyles include chylandyk, despeng borbang, opei khoomei, buga khoomei, kanzyp, khovu kargyraazy, kozhagar kargyraazy, dag kargyraazy, Oidupaa kargyraazy, uyangylaar, damyraktaar, kishteer, serlennedyr and byrlannadyr.^[6] These schemes all use Tuvan terminology.

Khorekteer

Khorekteer refers to the “chest voice”. This is the voice that throat singers use when using khoomei, kargyraa, or any other harmonic-inducing style. The term can also be used to refer to all styles of Tuvan throat singing, much like khoomei. It can also refer to the feeling of chest resonance or pressure that one experiences when throat singing. Khorekteer is often used as a launching pad into the khoomei, sygyt, or kargyraa styles of throat singing.

Khoomei

The most popular style of Tuvan throat singing is known as Khoomei (or Khöömei, in Cyrillic: Хөөмей). Khoomei is traditionally a softer sounding style, with the fundamental (or drone) usually in the low-mid to midrange of the singer’s normal voice. In this style, usually 2 or 3 harmonics can be heard between one and two octaves above the fundamental. In Khoomei, the abdomen is fairly relaxed, and there is less tension on the larynx than in other styles. Pitch is manipulated through a combination of movements of the lips, throat, tongue or jaw.

Singing in this style gives the impression of wind swirling among rocks.^[7]

The term Khoomei is also used as a generic term to designate all throat singing techniques in this region.

Sygyt

Sygyt (in Cyrillic: Сыгыт), literally ‘whistling’, has a midrange fundamental and is characterized by strong, flute-like or rather piercing harmonics, reminiscent of whistling. Also described^{[according to whom?]} as an imitation of the gentle breezes of summer, the songs of birds, the ideal sound for the harmonics is called Чистый звук—Russian for clear sound.

To perform Sygyt, the tongue rises and seals around the gums, just behind the teeth. A small hole is left back behind the molars, either on the left or right side. The sound is then directed between the teeth to the front of the mouth. The lips form a bell-like shape, usually with an “ee” vowel, and the sound is directed through this small opening. Pitch is manipulated exactly the same way as in khoomei style.^[8]

Kargyraa

The more deep sounding style of throat singing is known as Kargyraa (in Cyrillic: Каргыраа). Kargyraa has a deep, almost growling sound to it and is technically related to Sardinian bass singing in Canto a Tenore choirs, and also to Tibetan Buddhist chant and has some similarities with the way Popeye‘s cartoon voice was created. It uses both the vocal and the vestibular folds (also known as “false vocal cords”) simultaneously, creating two connected sources of sound.

This vocal mechanism has been recently elucidated and shown to be identical to “sardinian bassu”, which is one of the four voices of Sardinian “canto a tenore” choirs. It is also similar to the chant practiced in Tibet by the Gyuto monastery and other Buddhist orders.^[9]^[10]

There are two types of Kargyraa: Dag (mountain) and Xovu (steppe). The Dag style is deeper, while Xovu is raspier and sung at a higher pitch with more throat tension and less chest resonance.^[11]^[12] There are also the distinctive kargyraa styles of Vladimir Oidupaa and Albert Kuvezin, the latter also bearing the name kanzat. This is sometimes described^{[according to whom?]} as the howling winds of winter or the plaintive cries of a mother camel after losing her calf.

Effects and other styles

Of the following list, two effects that commonly employed in the khomeii, sygyt and kargyraa styles: Borbangnadyr and Ezengileer.

Borbangnadyr (Борбаңнадыр) is a trill reminiscent of birds and traveling brooks, made by rapid movements of the tongue. Another effect that is usually added to this style is the light quivering of the lips,called “byrlang”.^[13]
Ezenggileer (Эзеңгилээр) is a pulsating style, attempting to mimic the rhythms of horseback riding. It is named after the Tuvan word for stirrup, ezengi.
Chylandyk (Чыландык) is simultaneous Sygyt and Kargyraa. This creates an unusual sound of low undertones mixed with the high Sygyt whistle. It has also been described as the “chirping of crickets.” A careful listener can further break down this style into Dag Chylandyk and Xovu Chylandyk.
Dumchuktaar (Думчуктаар) could be best described as “throat humming”. The singer creates a sound similar to sygyt using only the nasal passage. The word means to sing through the nose (dumchuk). The mouth does not need to be closed, but of course it demonstrates the point better.^{[citation needed]}

Women in Tuvan throat singing

There were a few female throat singers in Tuva’s history, though it was believed a woman performing throat singing could hurt her male relatives and cause her difficulties during childbirth. Choldak-Kara Oyun, the mother of the famous throat singer Soruktu Kyrgys and grandmother of the husband of famous Tuvan actress Kara-Kys Namzatovna Munzuk, throat sang throughout her life while milking her cows, singing lullabies to her children and sometimes while she was drinking Tuvan araga (fermented milk alcohol). Close relatives of famous singers, like Khunashtaar-ool’s niece (in the 1960s) and Kombu’s daughter (in the 1940s or 1950s), performed khoomei (throat singing) in public more than once. The wife of the throat singing shaman Bilek-ool from Manchurek, Aldinsova Tortoyavna, said that she has always sung khoomei “because it was innate to [her] from birth.” She could not resist singing khoomei after she got married and had children, and sang khoomei in public in the 1950s and 1960s. But her sister, who also sang khoomei as a girl, gave up when others repeatedly reminded her of the supposed dangers.

In the Soviet era it was rare for women to perform on stage, except during Republican festivals. Valentina Salchak performed throat singing in public in 1979. Valentina Chuldum from Mongun-Taiga (1960- Autumn 2002) toured European countries as a throat singer in the early 1990s. With the start of the International Symposium of Khoomei women could sing publicly there.

Tyva Kyzy (Тыва Кызы, pronounced [tɯˈva kɯˈzɯ]) (Daughters of Tuva, in Tuvan Turkish), founded in 1998, is an all-female folk ensemble performing Tuvan throat singing, under the direction of Choduraa Tumat. It is the first and only women’s group in Tuva that performs all styles of Tuvan throat singing.^[14]

In popular culture

In 2016, a band called The Hu was formed. Hailing from Mongolia, the band blend rock and heavy metal with traditional Mongolian instrumentation, including Mongolian throat singing and the Morin khuur (also known as the horsehead fiddle).^[15] The Hu calls their style of music “hunnu rock”, hu being a Mongolian root word for “human”.^[16]

In 2018, the band made its debut at Download Festival in Donington. A song by The Hu, “Black Thunder” was created for the 2019 videogame Star Wars Jedi: Fallen Order.^[17] A different version of the song was then translated and recorded by The Hu from the original Mongolian to a new fictional Star Wars language created by the band, with guidance from the game’s developers. This version, “Suugan Essena”, was used for the game.^[18]^[19]

Examples

References

“Mongolian art of singing, Khoomei – intangible heritage – Culture Sector – UNESCO”. http://www.unesco.org. Retrieved 2018-02-04. Aksenov, A. N. Tuvan Folk Music. Asian Music, Vol. 4, No. 2 (1973), pp. 7-18. Slobin, Mark. Ethnomusicology. Volume 36, No. 3, Special Issue: Music and the Public Interest. (1992), pp 444-446. Levin, Theodore (2006). When Rivers and Mountains Sing. Bloomington, IN: Indiana University Press. ISBN 0-253-34715-7. Levin, Theodore C.; Edgerton, Michael E. (September 1999). “The Throat Singers of Tuva”. Scientific American. “International Scientific Centre “Khoomei””. Khoomei.narod.ru. Retrieved 2008-11-27. “The website Khoomei.com has a great video demonstrating khomeii style”. [1] Fuks et al., 1998 Lindestad et al., 2001 Alden-ool Sevek (1995). “Dag (Muntain)Kargyraa”. (MOV video). khoomei.com. Kaigal-ool. “Orphan’s Lament”. (MOV video). khoomei.com. “Kaigal-ool sings his heart out in several khoomei styles.” “An excellent example of Borbangnadyr”. “TYVAKYZY.COM”. http://www.tyvakyzy.com. “Steppe change: how Mongolian rock band the Hu conquered the world”. The Guardian. Retrieved 23 February 2020. “THE HU: MONGOLIAN FOLK-METAL SENSATIONS AIM TO CONQUER THE WORLD”. Revolver Mag. Retrieved 23 February 2020. November 2019, Alyssa Mercante 19. “Star Wars Jedi: Fallen Order just made a Mongolian rock band canon”. gamesradar. Retrieved 2020-02-26. https://www.youtube.com/watch?v=gGcem7JFvEg

https://www.revolvermag.com/music/how-mongolian-band-hu-made-song-star-wars-alien-language

Bibliography and further reading

Emory, Michael. Khomeii-How To’s and Why’s. 7 March 2007. http://www.fotuva.org/music/emory.html
Fuks L., Hammarberg B. and Sundberg J. “A self-sustained vocal-ventricular phonation mode: acoustical, aerodynamic and glottographic evidences”, KTH TMH-QPSR 3/1998, 49-59, Stockholm.
Lindestad PA, Sodersten M, Merker B and Granqvist S. “Voice source characteristics in Mongolian throat singing studied with high-speed imaging technique, acoustic spectra, and inverse filtering”. Journal of Voice, vol. 15, no. 1, pp. 78–85, 2001
Levin, Theodore C. and Michael Edgerton. The Throat Singers of Tuva. Scientific American. September 1999 Vol 81 Issue 3 P. 80
Khoomei.com 7 March 2007. http://khoomei.com

External links

Khoomei.com
Michael Emory—tutorial on beginning throat singing.
The Friends of Tuva—general information as well as links to artists and recordings
A demonstration of throat singing (YouTube video)
The Art of Tuva Throat Singing, On Point Radio, aired January 13, 2006
Audio and video samples of Tuvan throat singing styles

v t e Russia articles

v t e Mongolia articles

v t e Turkic topics

v t e UNESCO Oral and Intangible Heritage of Humanity: Music

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This page was last edited on 16 May 2020, at 16:08 (UTC).
https://en.wikipedia.org/wiki/Tuvan_throat_singing

WIKIPEDIA : OVERTONE SINGING

Overtone singing

From Wikipedia, the free encyclopedia Jump to navigation Jump to search Play media Polyphonic Overtone Singing “Pachelbel’s canon” – Performed by Wolfgang Saus

[2] Chirgilchin performing various styles of Tuvan Throat Singing.

Overtone singing – also known as overtone chanting, harmonic singing, or throat singing – is a type of singing in which the singer manipulates the resonances created in the vocal tract, in order to produce a melody.

From a fundamental pitch, made by the human voice, the belonging harmonic overtones can be selectively amplified by changing the shape of the resonant cavities of the mouth, larynx, and pharynx.^[1] This resonant tuning allows singers to create more than one pitch at the same time (the fundamental and one or more selected overtones), while actually generating only a single fundamental frequency with their vocal folds.

Each note is like a rainbow of sound. When you shoot a light beam through a prism, you get a rainbow. You think of a rainbow of sounds when you sing one note. If you can use your throat as a prism, you can expose the rainbow – through positioning the throat in a certain physical way, which will reveal the harmonic series note by note.^[2]

Asia

Mongolia and Buryatia

Main article: Music of Mongolia § Throat singing

It is thought that the art of overtone singing originated in southwestern Mongolia in today’s Khovd Province and Govi Altai region. Nowadays, overtone singing is found throughout the country and Mongolia is often considered the most active center of overtone singing in the world.^[3] The most commonly practiced style, Khöömii (written in Cyrillic as Хөөмий), can be divided up into the following categories:

uruulyn / labial khöömii
tagnain / palatal khöömii
khamryn / nasal khöömii
bagalzuuryn, khooloin / glottal, throat khöömii
tseejiin khondiin, khevliin / chest cavity, stomach khöömii
turlegt or khosmoljin khöömii / khöömii combined with long song

Mongolians also use many other singing styles such as “karkhiraa” (literally “growling”) and “isgeree”.

Tuva

Main article: Tuvan throat singing

Tuvan overtone singing is practiced in the Republic of Tuva (southern Siberia, Russia) and it’s called Khöömei.

The Tuvan way of singing overtones is based on appreciation of complex sounds with multiple layers or textures, which is how the Tuvans developed a wide range of rhythmic and melodic styles during the centuries.

Most of the styles are sung with “korekteer” (korek = chest, teer = to sing. Literally “to sing with chest voice”), and the main ones are:

Khöömei
Sygyt
Kargyraa (which also uses a second sound source made by false vocal folds. This technique is called “false-folds-diplophony”)

And other special sub-styles like:

Borbangnadyr,
Chylandyk,
Dumchuktaar,
Ezengileer.
Byrlang (a unique type of vibrato, mainly applied to khöömei and kargyraa styles)

The melodies are traditionally created by using the 6th, 8th, 9th, 10th, 12th, 13th and sometimes the 16th harmonics, which form the major pentatonic scale, so the 7th and 11th harmonics are carefully skipped.

The most peculiar melody, from Tuvan tradition, is “Artii Sayir”, mostly performed in kargyraa style.

Altai and Khakassia

Tuva’s neighbouring Russian regions, the Altai Republic to the west and Khakassia to the northwest, have developed forms of throat singing called “kai”, or “khai”. In Altai, this is used mostly for epic poetry performance, to the accompaniment of a topshur. Altai narrators (“kai-chi“) perform in kargyraa, khöömei, and sygyt styles, which are similar to Tuvan. They also have their own style, a very high harmonics, emerging from kargyraa. Variations of kai are called karkyra, sybysky, homei, and sygyt. The first well-known kai-chi was Kalkin.

Chukchi Peninsula

The Chukchi people of the Chukchi Peninsula in the extreme northeast of Russia also practice a form of throat singing.^[4]

Tibet

Tibetan Buddhist chanting is a subgenre of throat singing, mainly practiced by monks of Tibet, including Qinghai (Khokhonor) province in the Tibetan plateau area, Tibetan monks of Nepal, Bhutan, India, and various locations in the Himalayan region. Most often the chants hold to the lower pitches possible in throat singing. Various ceremonies and prayers call for throat singing in Tibetan Buddhism, often with more than one monk chanting at a time. There are different Tibetan throat singing styles, such as Gyuke (Tibetan: རྒྱུད་སྐད་, Wylie: rgyud skad) – this style uses the lowest pitch of voice; Dzoke (Tibetan: མཛོ་སྐད་, Wylie: mdzo skad), and Gyer (Tibetan: གྱེར་, Wylie: gyer).

Uzbekistan and Kazakhstan

The oral poetry of Kazakhstan and the Uzbek region of Karakalpakstan sometimes enters the realm of throat singing.^{[citation needed]}

Pakistan, Iran and Afghanistan

Balochi Nur Sur is one of the ancient forms of overtone singing and is still popular in parts of Pakistan, Iran, and Afghanistan – especially in the Sulaiman Mountains.^{[citation needed]}

Japan

The Ainu of Hokkaidō, Japan once practiced a type of throat singing called rekuhkara, which is now extinct. The last singer of rekuhkara died in 1976, but there are some recordings left.^[4]^[5]

At sumo tournaments, the announcer, called Yobidashi, announces each wrestler’s name using overtone throat singing.^{[citation needed]}

Europe

Sardinia

Main article: Cantu a tenore

On the island of Sardinia (Italy), especially in the subregion of Barbagia, one of the two different styles of polyphonic singing is marked by the use of throat singing. This kind of choir is called “singing a tenore“. The other style, known as cuncordu, does not use throat singing. Cantu a Tenore is practiced by groups of four male singers, each of whom has a distinct role; the ‘oche or boche (pronounced /oke/ or /boke/, “voice”) is the solo voice, while the mesu ‘oche or mesu boche (“half voice”), contra (“against”), and bassu (“bass”) – listed in descending pitch order – form a chorus (another meaning of tenore). Boche and mesu boche sing in a regular voice, whereas contra and bassu sings with the use of the false vocal folds, just like the Tuvan Khoomei and Kargyraa techniques. In 2005, Unesco classed the cantu a tenore as an intangible world heritage.^[6] The most well known groups who perform the singing a Tenore are from Bitti, Orosei, Oniferi, and Neoneli. Each town has usually more than one group, and their name is based on a specific place, or monument, and then their hometown: for example: Tenore Su Remediu(place) de Orosei(Town).

Northern Europe

The Sami people of the northern parts of Sweden, Norway, Finland, and the Kola Peninsula in Russia have a singing genre called yoik. While overtone techniques are not a defining feature of yoik, individuals sometimes utilize overtones in the production of yoik.

Bashkortostan

The Bashkirs of Bashkortostan, Russia have a style of overtone singing called özläü (sometimes spelled uzlyau; Bashkort Өзләү), which has nearly died out. In addition, Bashkorts also sing uzlyau while playing the kurai, a national instrument. This technique of vocalizing into a flute can also be found in folk music as far west as the Balkans and Hungary.

North America

Inuit

The resurgence of a once-dying Inuit tradition called katajjaq is currently under way in Canada. Inuit throat singing was a form of entertainment among Inuit women while the men were away on hunting trips. It was an activity that was primarily done by Inuit women, though men also did it. In the Inuit language Inuktitut, throat singing is called katajjaq, pirkusirtuk, or nipaquhiit, depending on the Canadian Arctic region. It was regarded more as a type of vocal or breathing game in the Inuit culture rather than a form of music. Inuit throat singing is generally done by two individuals but can involve four or more people together as well. In Inuit throat singing, two women would face each other either standing or crouching down while holding each other’s arms. One would lead with short deep rhythmic sounds while the other would respond. The leader would repeat sounds with short gaps in between. The follower would fill in these gaps with her own rhythmic sounds. Sometimes both women would be doing a dance-like movement such as rocking from left to right while throat singing. The practice is compared more to a game or competition than to a musical style. In the game, Inuit women sit or stand face-to-face and create rhythmic patterns.^[7]

Africa

South Africa

Some Thembu Xhosa women of South Africa have a low, rhythmic style of throat-singing, similar to the Tuvan Kargyraa style, that is called umngqokolo. It is often accompanied by call-and-response vocals and complicated poly-rhythms.^[8]^[9]^[10]

Non-traditional styles

Canada, United States, and Europe

The 1920s Texan singer of cowboy songs, Arthur Miles, independently created a style of overtone singing, similar to sygyt, as a supplement to the normal yodelling of country western music. Blind Willie Johnson, also of Texas, is not a true overtone singer according to National Geographic, but his ability to shift from guttural grunting noises to a soft lullaby is suggestive of the tonal timbres of overtone singing.^[11]

Starting in the 1960s, some musicians in the West either have collaborated with traditional throat singers or ventured into the realm of throat singing and overtone singing, or both. Some made original musical contributions and helped this art rediscover its transcultural universality. As harmonics are universal to all physical sounds, the notion of authenticity is best understood in terms of musical quality. Musicians of note in this genre include Collegium Vocale Köln (who first began using this technique in 1968), Michael Vetter, David Hykes,^[12] Jill Purce, Jim Cole, Ry Cooder, Paul Pena (mixing the traditional Tuvan style with that of American Blues), Steve Sklar, and Kiva (specializing in jazz/ world beat genres and composing for overtone choirs). Others include composer Baird Hersey and his group Prana with Krishna Das (overtone singing and Hindu mantra), as well as Canadian songwriter Nathan Rogers, who has become an adept throat singer and teaches Tuvan throat singing in Winnipeg, Manitoba.^{[citation needed]}

Paul Pena was featured in the documentary Genghis Blues, which tells the story of his pilgrimage to Tuva to compete in their annual throat singing competition. The film won the documentary award at the 1999 Sundance Film Festival, and was nominated for an Oscar in 2000.

Tuvan singer Sainkho Namtchylak has collaborated with free jazz musicians such as Evan Parker and Ned Rothenberg. Lester Bowie and Ornette Coleman have worked with the Tenores di Bitti, and Eleanor Hovda has written a piece using the Xhosa style of singing. DJs and performers of electronic music like The KLF have also merged their music with throat singing, overtone singing, or with the theory of harmonics behind it.

David Hykes, a pioneer in new music, contemplative chant and healing sounds, founded Harmonic Chant in New York in 1975, the year he also founded his legendary group, The Harmonic Choir, considered to be one of the world’s pre-eminent overtone ensembles.

Wolfgang Saus, from Germany, is considered one of the major teachers/performers of “polyphonic overtone singing” in Europe. Formerly trained as a classical baritone, his unique skills makes him instantly recognizable. He’s also a renowned composer and arranger of polyphonic overtone singing music for solo voice and choirs.

A cappella singer Avi Kaplan also exhibited overtone singing during his group’s (Pentatonix) performances. He merged throat singing together with a cappella dubstep.

The Overtone Choir Spektrum from Prague, Czech Republic, is unique among overtone choirs, particularly because it connects traditional choir singing with overtone techniques. It is the only one of its kind in the Czech Republic, and one of only a few in the world.[3] [4]

Sherden Overtone Choir was founded in 2016 in Sardinia by Ilaria Orefice and Giovanni Bortoluzzi. The choir combines Tuvan Throat Singing Styles with Sardinian Throat singing.

Contemporary multi-instrumentalist performer The Suitcase Junket employs a self-taught overtone singing, or throat singing technique in his live and recorded performances.

Several contemporary classical composers have incorporated overtone singing into their works. Karlheinz Stockhausen was one of the first, with Stimmung in 1968. Tran Quang Hai (b.1944), a French national of Vietnamese origin, created the composition “Ve Nguon” with the collaboration of Vietnamese composer Nguyen Van Tuong in 1975, in Paris.^{[citation needed]} “Past Life Melodies” for SATB chorus by Australian composer Sarah Hopkins (b. 1958) also calls for this technique. In Water Passion after St. Matthew by Tan Dun, the soprano and bass soloists sing in a variety of techniques including overtone singing of the Mongolian style.

In 2014 German singer Anna-Maria Hefele went viral on YouTube with her “polyphonic overtone” singing. The Huffington Post has commented on her “amazing ability” and her singing being “utterly bizarre”.^[13] On 10 October 2014, she was number two on The Guardian’s Viral Video Chart,^[14] with one online video titled Polyphonic Overtone Singing, which features Hefele as she demonstrates and explains overtones. As of March 2018, this video has received more than 11 million hits.

Notes

Titze 2008; Titze 1994; Pariser & Zimmerman 2004 Corzine, Amy (2012). The Secret Life of the Universe: The Quest for the Soul of Science, unpaginated. She is quoting a musician. Watkins Media. ISBN 9781780282213. Sklar, 2005 4.3.02. “Inuit Throat-Singing”. Mustrad.org.uk. Retrieved 2008-11-27. Shimomura Isao (下村五三夫), Itō Daisuke (伊藤大介) 樺太アイヌの喉交換遊びレクッカラについてKitami Institute of Technology, 2008 Bandinu 2006. “Inuit Throat Singing”. Dr. Dave Dargie “Some recent developments in Xhosa music : activities of the Ngqoko Traditional Xhoa Music Ensemble, and at the University of Fort Hare”. Retrieved on 2014-04-23. Dr. Dave Dargie “UMNGQOKOLO – Thembu Xhosa – OVERTONE SINGING filmed 1985–1998 in South Africa”. Retrieved on 2014-04-23. Dargie, Dave. “Xhosa Overtone Singing” The world of South African music: A reader. Cambridge Scholars Press, 2005. 152–155 Google Books Web. 23 Apr. 2014. [1] Miller, Bruce. “Overtone Singing Music”. National Geographic. Retrieved February 20, 2012. Bellamy and MacLean 2005, 515. “German Musician Anna-Maria Hefele Demonstrates Polyphonic Overtone Singing, And It’s Amazing”. Huffington Post. Retrieved 12 October 2014.

Perraudin, Frances (10 October 2014). “Viral Video Chart”. The Guardian. Retrieved 12 October 2014.

References

Bandinu, Omar (2006). “Il canto a tenore: dai nuraghi all’Unesco“, Siti 2, no.3 (July–September): 16–21.
Bellamy, Isabel, and Donald MacLean (2005). Radiant Healing: The Many Paths to Personal Harmony and Planetary Wholeness. Buddina, Queensland (Australia): Joshua Books. ISBN 0-9756878-5-9
Haouli, Janete El (2006). Demetrio Stratos: en busca de la voz-música. México, D. F.: Radio Educación – Consejo Nacional para la Cultura y las Artes.
Hefele, Eklund & McAllister (2019). “Polyphonic Overtone Singing: An Acoustic and Physiological (MRI) Analysis and a First-person Description of a Unique Mode of Singing”. In: Mattias Heldner (ed.): Proceedings from Fonetik 2019, 10–12 June 2019, Stockholm, Sweden. PERILUS XXVII, ISSN 0282-6690, ISBN 978-91-7797-984-5 (print version), ISBN 978-91-7797-985-2 (electronic version), doi:10.5281/zenodo.3246011, pp. 91–96.
Levin, Theodore C., and Michael E. Edgerton (1999). “The Throat Singers of Tuva“. Scientific American 281, no. 3 (September): 80–87.
Levin, Theodore, and Valentina Süzükei (2006). Where Rivers and Mountains Sing. Bloomington: Indiana University Press. ISBN 0-253-34715-7.
Pariser, David, and Enid Zimmerman (2004). “Learning in the Visual Arts: Characteristics of Gifted and Talented Individuals,” in Handbook of Research and Policy in Art Education, Elliot W. Eisner and Michael D. Day (editors). Lawrence Erlbaum Associates. p. 388. ISBN 978-0-8058-4972-1.
Saus, Wolfgang (2004). Oberton Singen. Schönau im Odenwald: Traumzeit-Verlag. ISBN 3-933825-36-9 (German).
Sklar, Steve (2005). “Types of throat singing” “[5]“
Titze, Ingo R. (1994). Principles of Voice Production. Englewood Cliffs, NJ: Prentice Hall. ISBN 978-0-13-717893-3 Reprinted Iowa City: National Center for Voice and Speech, 2000. (NCVS.org) ISBN 978-0-87414-122-1 .
Titze, Ingo R. (2008). “The Human Instrument”. Scientific American 298, no. 1 (July):94–101. PM 18225701
Tongeren, Mark C. van (2002). Overtone Singing: Physics and Metaphysics of Harmonics in East and West. Amsterdam: Fusica. ISBN 90-807163-2-4 (pbk), ISBN 90-807163-1-6 (cloth).

External links

This article’s use of external links may not follow Wikipedia’s policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (September 2015) (Learn how and when to remove this template message)

Overtone singing used in choir music – Overtone Choir Spektrum & Jan Stanek
Overtone singing in a water tower – Jim Cole & Spectral Voices
Audio samples of overtone and throat singing
Online overtone singing generator
Ken-Ichi Sakakibara Overtone singing research.
Harmonic singing vs. normal singing – acoustical measurements and explanation
Scientific American: The Throat Singers of Tuva
Types of Throat Singing with Tips /Tuvan Throat-Singing by Steve Sklar
Observation of the Laryngeal Movements for Throat Singing: Vibration of two pairs of folds in human larynx
Audio samples of throat singing
www.overtonesinging.com Overtone Singing with Rollin Rachele
Tuva throat singers on Flickr
Kiva’s audio samples and information on overtone singing
Read in Serbian on muzickacentrala.com
Chukchi throat singing (Zoïa Tagrin’a, Olga Letykaï)
Overtone singing music
[6] – articles, video clips on overtone singing in Tuva, Mongolia, South Africa, Tibet
[7] – articles, video clips on overtone singing in the world.

v t e Extended techniques
General	Glissando Multiphonic
Percussion	Bowing
Bowed strings	Col legno Harmonics Bartók pizz. Two bows
Other strings	Luthéal Piano extended technique Prepared guitar Prepared harp Prepared piano String piano Tack piano
Winds	Circular breathing Flutter-tonguing Growling Split tone Slap tonguing
Voice	Death growl Overtone singing Screaming Sprechstimme

Categories:

WIKIPEDIA : Overtone singing

Overtone singing

From Wikipedia, the free encyclopedia Jump to navigation Jump to search Play media Polyphonic Overtone Singing “Pachelbel’s canon” – Performed by Wolfgang Saus

[2] Chirgilchin performing various styles of Tuvan Throat Singing.

Each note is like a rainbow of sound. When you shoot a light beam through a prism, you get a rainbow. You think of a rainbow of sounds when you sing one note. If you can use your throat as a prism, you can expose the rainbow – through positioning the throat in a certain physical way, which will reveal the harmonic series note by note.^[2]

Asia

Mongolia and Buryatia

Main article: Music of Mongolia § Throat singing

uruulyn / labial khöömii
tagnain / palatal khöömii
khamryn / nasal khöömii
bagalzuuryn, khooloin / glottal, throat khöömii
tseejiin khondiin, khevliin / chest cavity, stomach khöömii
turlegt or khosmoljin khöömii / khöömii combined with long song

Mongolians also use many other singing styles such as “karkhiraa” (literally “growling”) and “isgeree”.

Tuva

Main article: Tuvan throat singing

Tuvan overtone singing is practiced in the Republic of Tuva (southern Siberia, Russia) and it’s called Khöömei.

Most of the styles are sung with “korekteer” (korek = chest, teer = to sing. Literally “to sing with chest voice”), and the main ones are:

Khöömei
Sygyt
Kargyraa (which also uses a second sound source made by false vocal folds. This technique is called “false-folds-diplophony”)

And other special sub-styles like:

Borbangnadyr,
Chylandyk,
Dumchuktaar,
Ezengileer.
Byrlang (a unique type of vibrato, mainly applied to khöömei and kargyraa styles)

The most peculiar melody, from Tuvan tradition, is “Artii Sayir”, mostly performed in kargyraa style.

Altai and Khakassia

Chukchi Peninsula

The Chukchi people of the Chukchi Peninsula in the extreme northeast of Russia also practice a form of throat singing.^[4]

Tibet

Uzbekistan and Kazakhstan

The oral poetry of Kazakhstan and the Uzbek region of Karakalpakstan sometimes enters the realm of throat singing.^{[citation needed]}

Pakistan, Iran and Afghanistan

Balochi Nur Sur is one of the ancient forms of overtone singing and is still popular in parts of Pakistan, Iran, and Afghanistan – especially in the Sulaiman Mountains.^{[citation needed]}

Japan

The Ainu of Hokkaidō, Japan once practiced a type of throat singing called rekuhkara, which is now extinct. The last singer of rekuhkara died in 1976, but there are some recordings left.^[4]^[5]

At sumo tournaments, the announcer, called Yobidashi, announces each wrestler’s name using overtone throat singing.^{[citation needed]}

Europe

Sardinia

Main article: Cantu a tenore

Northern Europe

Bashkortostan

North America

Inuit

Africa

South Africa

Non-traditional styles

Canada, United States, and Europe

Starting in the 1960s, some musicians in the West either have collaborated with traditional throat singers or ventured into the realm of throat singing and overtone singing, or both. Some made original musical contributions and helped this art rediscover its transcultural universality. As harmonics are universal to all physical sounds, the notion of authenticity is best understood in terms of musical quality. Musicians of note in this genre include Collegium Vocale Köln (who first began using this technique in 1968), Michael Vetter,Tran Quang Hai, David Hykes,^[12] Jill Purce, Jim Cole, Ry Cooder, Paul Pena (mixing the traditional Tuvan style with that of American Blues), Steve Sklar, and Kiva (specializing in jazz/ world beat genres and composing for overtone choirs). Others include composer Baird Hersey and his group Prana with Krishna Das (overtone singing and Hindu mantra), as well as Canadian songwriter Nathan Rogers, who has become an adept throat singer and teaches Tuvan throat singing in Winnipeg, Manitoba.^{[citation needed]}

Tran Quang Hai , a researcher on overtone singing since 1969 in Paris,France, has published many articles, videos on overtone singing from 1971. His film “The Song of Harmonics” directed by Hugo Zemp in 1989 obtained 4 international prizes in Estonia (1990) France (1990) and Canada (1991).

A cappella singer Avi Kaplan also exhibited overtone singing during his group’s (Pentatonix) performances. He merged throat singing together with a cappella dubstep.

Sherden Overtone Choir was founded in 2016 in Sardinia by Ilaria Orefice and Giovanni Bortoluzzi. The choir combines Tuvan Throat Singing Styles with Sardinian Throat singing.

Contemporary multi-instrumentalist performer The Suitcase Junket employs a self-taught overtone singing, or throat singing technique in his live and recorded performances.

Notes

Perraudin, Frances (10 October 2014). “Viral Video Chart”. The Guardian. Retrieved 12 October 2014.

References

Bandinu, Omar (2006). “Il canto a tenore: dai nuraghi all’Unesco“, Siti 2, no.3 (July–September): 16–21.
Bellamy, Isabel, and Donald MacLean (2005). Radiant Healing: The Many Paths to Personal Harmony and Planetary Wholeness. Buddina, Queensland (Australia): Joshua Books. ISBN 0-9756878-5-9
Haouli, Janete El (2006). Demetrio Stratos: en busca de la voz-música. México, D. F.: Radio Educación – Consejo Nacional para la Cultura y las Artes.
Hefele, Eklund & McAllister (2019). “Polyphonic Overtone Singing: An Acoustic and Physiological (MRI) Analysis and a First-person Description of a Unique Mode of Singing”. In: Mattias Heldner (ed.): Proceedings from Fonetik 2019, 10–12 June 2019, Stockholm, Sweden. PERILUS XXVII, ISSN 0282-6690, ISBN 978-91-7797-984-5 (print version), ISBN 978-91-7797-985-2 (electronic version), doi:10.5281/zenodo.3246011, pp. 91–96.
Levin, Theodore C., and Michael E. Edgerton (1999). “The Throat Singers of Tuva“. Scientific American 281, no. 3 (September): 80–87.
Levin, Theodore, and Valentina Süzükei (2006). Where Rivers and Mountains Sing. Bloomington: Indiana University Press. ISBN 0-253-34715-7.
Pariser, David, and Enid Zimmerman (2004). “Learning in the Visual Arts: Characteristics of Gifted and Talented Individuals,” in Handbook of Research and Policy in Art Education, Elliot W. Eisner and Michael D. Day (editors). Lawrence Erlbaum Associates. p. 388. ISBN 978-0-8058-4972-1.
Saus, Wolfgang (2004). Oberton Singen. Schönau im Odenwald: Traumzeit-Verlag. ISBN 3-933825-36-9 (German).
Sklar, Steve (2005). “Types of throat singing” “[5]“
Titze, Ingo R. (1994). Principles of Voice Production. Englewood Cliffs, NJ: Prentice Hall. ISBN 978-0-13-717893-3 Reprinted Iowa City: National Center for Voice and Speech, 2000. (NCVS.org) ISBN 978-0-87414-122-1 .
Titze, Ingo R. (2008). “The Human Instrument”. Scientific American 298, no. 1 (July):94–101. PM 18225701
Tongeren, Mark C. van (2002). Overtone Singing: Physics and Metaphysics of Harmonics in East and West. Amsterdam: Fusica. ISBN 90-807163-2-4 (pbk), ISBN 90-807163-1-6 (cloth).
Tran Quang Hai(2018) “50 Years of Research in Vietnamese Traditonal Music and Overtone Singing”. 462p, Tu Sach Khai Tri, California, USA,ISBN 9781790239085

External links

Overtone singing used in choir music – Overtone Choir Spektrum & Jan Stanek
Overtone singing in a water tower – Jim Cole & Spectral Voices
Audio samples of overtone and throat singing
Online overtone singing generator
Ken-Ichi Sakakibara Overtone singing research.
Harmonic singing vs. normal singing – acoustical measurements and explanation
Scientific American: The Throat Singers of Tuva
Types of Throat Singing with Tips /Tuvan Throat-Singing by Steve Sklar
Observation of the Laryngeal Movements for Throat Singing: Vibration of two pairs of folds in human larynx
Audio samples of throat singing
www.overtonesinging.com Overtone Singing with Rollin Rachele
Tuva throat singers on Flickr
Kiva’s audio samples and information on overtone singing
Read in Serbian on muzickacentrala.com
Chukchi throat singing (Zoïa Tagrin’a, Olga Letykaï)
Overtone singing music
[6] – articles, video clips on overtone singing in Tuva, Mongolia, South Africa, Tibet
[7] – articles, video clips on overtone singing in the world.

v t e Extended techniques
General	Glissando Multiphonic
Percussion	Bowing
Bowed strings	Col legno Harmonics Bartók pizz. Two bows
Other strings	Luthéal Piano extended technique Prepared guitar Prepared harp Prepared piano String piano Tack piano
Winds	Circular breathing Flutter-tonguing Growling Split tone Slap tonguing
Voice	Death growl Overtone singing Screaming Sprechstimme

Categories:

WIKIPEDIA : Chant diphonique

Chant diphonique

Sauter à la navigation Sauter à la recherche

Cet article ne cite pas suffisamment ses sources(novembre 2012).

Si vous disposez d’ouvrages ou d’articles de référence ou si vous connaissez des sites web de qualité traitant du thème abordé ici, merci de compléter l’article en donnant les références utiles à sa vérifiabilité et en les liant à la section « Notes et références »

En pratique : Quelles sources sont attendues ? Comment ajouter mes sources ?

Le chant diphonique est une technique vocale permettant à une personne de produire un timbre vocal caractérisé par deux notes de fréquences différentes. Il s’agit donc de faire du chant polyphonique (à plusieurs voix) au moyen d’un seul organe vocal combinant d’une part divers types de voix (de poitrine, de tête…) et d’autre part divers positionnements de la langue ou des lèvres. La seconde voix, ou harmonique, est dans un rapport exact de fréquences avec celle de la voix de base, H₁, bourdon ou encore fondamental. Elle peut être égale à deux fois la fréquence du bourdon (H₂), trois fois (H₃), quatre (H₄), etc.

Bien que la plupart des techniques d’émissions diphoniques soient fondées sur un agencement ou un usage particulier des cavités bucco-nasales, on distingue aussi le chant de gorge ou encore chant harmonique permettant également de produire plusieurs sons à la fois : un bourdon grave est produit avec la gorge tandis que des harmoniques aiguës sont produites simultanément par amplification et résonance.

Ce type de chant est pratiqué depuis longtemps dans diverses musiques traditionnelles du monde, plus particulièrement en Haute-Asie (chez les Mongols, Touvains, Khakasses, Bachkirs, Altaïens, Mongols du Tibet notamment, voir Khöömei), et de manière plus discrète parmi les Sardes d’Italie, les Rajasthanis d’Inde et les Xhosa d’Afrique du Sud.

Sommaire

Variétés du chant diphonique

En Asie, chez les Touvains, il existe quatre techniques principales avec bourdon du plus grave au plus aigu selon les styles kargyraa, borbannadyr, ezengileer et sygyt :

dans le style kargyraa le fondamental a un timbre spécial (cor de chasse) avec une fréquence variant entre 55 Hz (la 0) et 65 Hz (do 1) ; les harmoniques se promènent entre H₆, H₇, H₈, H₉, H₁₀ et H₁₂. Chaque harmonique correspond à une voyelle déterminée ;
le fondamental dans le style borbannadyr (autour de 110 Hz) reste fixe, et a un timbre plus doux que celui du kargyraa. Le chanteur peut produire deux formants harmoniques au-dessus du fondamental. La parenté technique entre kargyraa et borbannadyr permet au chanteur d’alterner les deux styles dans la même pièce musicale ;
le style sygyt possède un fondamental plus aigu (entre 165 Hz-mi₂ et 220 Hz-la₂) selon les chanteurs. La mélodie harmonique utilise les harmoniques H₉, H₁₀ et H₁₂ (maximum jusqu’à 2 640 Hz) ;
le style ezengileer est une variante de sygyt, caractérisé par un rythme dynamique particulier, venant de l’appui périodique des pieds du cavalier sur les étriers.

Les types de chant diphonique des Touvains sont fondés sur les mêmes principes d’émission sonore que ceux de la guimbarde. La mélodie est créée par les harmoniques d’un fondamental, engendrés par le résonateur d’Helmholtz que constitue la cavité buccale humaine dont on modifie les dimensions. Pour la guimbarde, c’est la lame vibrante qui attaque le résonateur. Pour le chant diphonique, ce sont les cordes vocales qui seront ajustées sur des hauteurs différentes, ce qui crée plusieurs fondamentaux, donc plusieurs séries d’harmoniques.

D’autres techniques secondaires ou moins connues ont été « retrouvées », à savoir sigit moyen, kargiraa de steppe ou kargyraa de montagne, stil oidupa (inspiré du kargyraa et appelé d’après le nom du créateur, est considéré comme le premier style urbain).

Chez les Mongols, il existe six techniques différentes de chant diphonique ou khöömei ((хөөмий) : khamryn khöömii (Хамрын хөөмий, khöömii nasal), bagalzuuryn khöömii (Багалзуурын хөөмий, khöömii pharyngé), tseejin khöndii khöömii (цээжин хөндий хөөмий, khöömii de la cavité thoracique), khevliin khöömii (хэвлийн хөндий, khöömii abdominal), khargiraa khöömii (khöömii narratif avec un fondamental très grave) et isgerex (la voix de flûte dentale). Les chanteurs D. Sundui et Tserendavaa sont reconnus.

Chez les Khakasses est utilisé le style xaj. Avant la domination russe, les Khakashs avaient des styles de chant diphonique proches de ceux pratiqués par les Touvains, à savoir sygyrtyp (comme le sygyt), kuveder ou kylenge (comme le ezengileer) et kargirar (comme le kargyraa).

Chez les Altaïens on trouve un style semblable kaj pour accompagner les chants épiques en plus des styles kiomioi, karkira et sibiski (respectivement ezengileer, kargyraa, sygyt).

Chez les Bachkirs il y a le style uzlau proche du ezengileer.

Chez les Tibétains des monastères Gyuto et Gyüme, le chant des tantras et des mantras use du chant de gorge. Leur tradition remonte à un groupe de maîtres indiens, le plus connu étant le yogin Padmasambhava, qui visitèrent le Tibet au VIII^e siècle et, plus récemment, au fondateur de l’un des quatre courants du bouddhisme tibétain, Tsongkhapa (1357-1419) qui aurait introduit le chant diphonique et le style de méditation. Il tenait, dit on, ce type de chant de sa divinité protectrice, Maha Bhairava qui, bien qu’étant une incarnation du Bodhisattva de la compassion (Avalokiteśvara) possédait un esprit terrifiant. Le visage central de Maha Bhairava est celui d’un buffle en colère. Aujourd’hui encore, les maîtres de cette école aiment comparer leur chant au beuglement d’un taureau.

Il existe plusieurs manières de réciter les prières : la récitation dans un registre grave avec vitesse modérée ou rapide sur des textes sacrés, les chants avec trois styles (ta chanté avec des mots clairement prononcés sur une échelle pentatonique ; gur avec un tempo lent utilisé dans les cérémonies principales et au cours des processions ; yang avec une voix extrêmement grave sur des voyelles produisant l’effet harmonique pour communiquer avec les Dieux). Les moines tibétains du monastère Gyüto sortent un bourdon extrêmement grave et un harmonique H10 correspondant à la tierce majeure au-dessus de la 3^e octave du bourdon, tandis que les moines du monastère Gyüme produisent un bourdon grave et un harmonique 12 équivalant la quinte au-dessus de la 3^e octave du bourdon. On dit que le chant des moines Gyutö correspond à l’élément Feu et celui des moines Gyüme exprime l’élément Eau. Ces moines obtiennent cet effet harmonique en chantant la voyelle O avec la bouche allongée et les lèvres arrondies.

Chez les Inuits on trouve le chant de gorge inuit.

À Formose (Taïwan), les Bunun, une des minorités ethniques, chantent les voyelles dans une voix très tendue et font sortir quelques harmoniques dans un chant à l’occasion de la récolte des millets (pasi but but).

En Inde, un Rajasthanais, enregistré en 1967, est arrivé à utiliser la technique du chant diphonique proche du style sygyt pour imiter la guimbarde et la flûte double satârâ. Cet enregistrement unique représente la seule trace de l’existence du phénomène du chant diphonique au Rajasthan.

En Afrique du Sud, les Xhosa pratiquent le chant diphonique (découvert en 1983), surtout les femmes. Cette technique s’appelle umngqokolo ngomqangi imitant l’arc musical umrhube. Ngomqangi est le nom d’un coléoptère. Selon une chanteuse, cette technique à double voix simultanée est inspirée du bruit du coléoptère placé devant la bouche utilisé comme bourdon en modulant la cavité buccale pour varier les harmoniques produits.

Il faut faire la distinction entre le chant diphonique (chant créant une mélodie d’harmoniques) et le chant à résonance harmonique (chant accompagné par moments par des effets harmoniques).

Dans certains types de chants, l’émission des voyelles est très résonantielle, ce qui permet aux chanteurs de créer un deuxième formant non intentionnel (le chant bouddhique japonais shōmyō, certains chants polyphoniques d’Europe de l’Est), ou intentionnel (le phénomène quintina — la 5^e voix virtuelle, résultant de la fusion des 4 voix produites ensemble — des chants sacrés sardes).^{[Ce passage est incompréhensible.]}

En Italie, en Sardaigne, dans la région de la Barbagia, il existe deux styles de chant polyphonique. Le cuncordu est une forme de musique sacrée et emploie des voix normales. En revanche, le a tenore est une musique profane qui a des caractéristiques de chant diphonique. Le canto a tenore est pratiqué par un groupe de quatre chanteurs dont chacun a un rôle distinct.

Aspect acoustique

Plusieurs techniques de chant diphonique existent, telles le kargyraa, qui consiste à faire vibrer certains tissus présents au-dessus des cordes vocales, produisant une note grave — une octave en dessous de la note chantée — évoquant certains chants sacrés tibétains ; la technique de gorge est appelée sygyt, etc

Cette voix se caractérise par l’émission conjointe de deux sons, l’un dit « son fondamental » ou bourdon, qui est tenu à la même hauteur tout le temps d’une expiration, pendant que l’autre, plus aigu, dit « son harmonique » (qui est l’un des harmoniques naturels du son fondamental constituée d’un formant qui se déplace dans le spectre pour donner une certaine mélodie) varie au gré du chanteur. Ce son harmonique a un timbre proche à celui de la flûte (voix flûtée) ou à celui de la guimbarde (voix guimbarde).

La mise en évidence du bourdon est relativement facile, grâce aux sonagrammes. Le chant classique se caractérise par un doublement de l’écartement des raies harmoniques lorsque le chant passe à l’octave. Le chant diphonique présente un écartement égal des raies (ceci est prévisible puisque le bourdon demeure constant) pendant le passage d’une octave où l’on voit le déplacement du formant. En effet, on peut mesurer avec facilité la distance entre les raies pour chaque son émis ; dans ce cas, la perception de la mélodie du chant diphonique se fait par le biais du déplacement du formant dans le spectre sonore. Ceci n’est vraiment possible que si le formant se concentre dans l’aigu. L’énergie sonore est principalement divisée entre le bourdon et la deuxième voix constituée de deux harmoniques, au plus trois harmoniques.

Il a été parfois dit qu’une troisième voix pouvait être produite avec les techniques touvines, mais il est impossible d’affirmer que la troisième voix est contrôlée. On peut établir un parallèle entre chant diphonique et guimbarde. La guimbarde produit comme le chant diphonique plusieurs « voix » différentes : le bourdon, le chant et le contre chant. Cette troisième voix ressemble à un contre chant, peut être délibéré, mais sans doute non contrôlé.

Champ de liberté

Du point de vue du champ de liberté (désignant l’étendue des performances et comprenant le champ des formes musicales en intensité, en hauteur, en timbre), le chant diphonique équivaut au chant normal sauf en ce qui concerne l’ambitus. Le temps d’exécution dépend évidemment de la cage thoracique du chanteur et de sa respiration, mais également de l’intensité sonore en rapport avec le débit d’air.

Le champ de liberté concernant l’intensité est par contre relativement restreint et le niveau des harmoniques est lié au niveau du bourdon. Le chanteur a intérêt à garder un bourdon d’intensité suffisante afin de faire émerger un maximum d’harmoniques. Les harmoniques sont d’autant plus claires que le formant est étroit et intense.

Il est admis que pour une tonalité judicieuse (en fonction de l’exécutant et de la pièce musicale à interpréter), un chanteur peut moduler ou choisir entre les harmoniques 3 et 13. L’ambitus est fonction de la tonalité. Si la tonalité est en do₂, la réalisation se fait sur 14 harmoniques du 6^e au 20^e, ceci représentant une octave et une sixte. Si la tonalité est élevée, par exemple do₃, le choix se fait entre les harmoniques 3 et 10 soit 8 harmoniques, représentant également une octave et une sixte.

L’ambitus du chant diphonique est plus restreint que celui du chant normal. Si en théorie le chanteur choisit la tonalité qu’il veut entre do₂ et do₃, en pratique, il réalise instinctivement un compromis entre la clarté de la deuxième voix et l’ambitus de son chant. Si la tonalité est élevée, par exemple, do₃, le choix des harmoniques se trouve restreint, mais la deuxième voix est alors très claire. Dans le cas d’une tonalité en do₂, la deuxième voix est plus confuse, alors que l’ambitus atteint son maximum. La clarté des sons peut s’expliquer par le fait que dans le premier cas, le chanteur ne peut sélectionner qu’un harmonique, alors que dans le deuxième cas il peut en sélectionner presque deux. Pour la question de l’ambitus, la mise en action des résonateurs buccaux est indépendante de la tonalité des sons émis par les cordes vocales ; le chanteur sélectionne toujours les harmoniques dans la même zone du spectre que ceux-ci soient écartés ou resserrés.

Le chanteur choisit la tonalité instinctivement pour avoir à la fois l’ambitus maximum et le maximum de clarté, le meilleur compromis se trouvant entre DO2 et le la₂ : on peut ainsi produire avec les harmoniques à partir d’un son fondamental entre do₂ et la₂ une mélodie couvrant jusqu’à deux octaves.

Perception de la hauteur des sons

La hauteur des sons tient plus de la psycho-acoustique que de la physique. Le Sono-graphe permet d’obtenir l’image du son étudié. Les manuels d’acoustiques disent que la hauteur des sons harmoniques, comportant un fondamental de fréquence F et une suite d’harmoniques F₁,F₂… multiples de F, est donnée par la fréquence du premier son fondamental. Ceci n’est pas tout à fait exact car il est possible de supprimer électroniquement ce fondamental sans pour cela changer la hauteur subjective du son perçu. Si cette théorie était exacte, une chaîne électro-acoustique ne reproduisant pas l’extrême grave changerait la hauteur des sons. Il n’en est rien car le timbre change mais pas la hauteur. Certains chercheurs proposent une autre théorie plus cohérente : la hauteur des sons est donnée par l’écartement des raies harmoniques ou la différence de fréquence entre deux raies harmoniques. Que devient la hauteur des sons dans ce cas pour les spectres sonores dit à « partiels » (les partiels sont les harmoniques qui ne sont pas des multiples entiers du fondamental) ? Dans ce cas, l’individu perçoit une moyenne de l’écartement des raies dans la zone qui l’intéresse.

On désigne par l’expression « spectre à formant » le renforcement en intensité d’un groupe d’harmoniques constituant un formant, c’est-à-dire une zone de fréquences où l’énergie est grande. En rapport avec l’existence de ce formant, une deuxième notion de la perception de hauteur se fait jour. On s’est en effet aperçu que la position du formant dans le spectre sonore donnait la perception d’une nouvelle hauteur. Dans ce cas, il s’agit de la position du formant dans le spectre. Cette théorie doit être nuancée, car des conditions s’imposent.

La disparition du formant ne change pas la hauteur des sons. La perception de la hauteur par la position du formant n’est possible que si celui-ci est très aigu, à savoir que l’énergie du formant n’est répartie que sur deux ou trois harmoniques. Si la densité d’énergie du formant est grande, et que le formant est étroit, celui-ci donnera une information de hauteur en plus de la tonalité globale du morceau chanté, ouvrant la possibilité technique du chant diphonique / diplophonique / biformantique.

Mécanismes de production sonore

Un résonateur est une cavité pouvant résonner dans un domaine de fréquences. Le système excitateur – le pharynx et les cordes vocales – émet un spectre harmonique, et les résonateurs amplifient celui-ci. Un bon chanteur est capable de choisir ces fréquences : lorsqu’un chanteur porte la voix pour se faire entendre dans une grande salle il adapte ses résonateurs (volume de la cavité buccale, de la section de l’ouverture de la bouche et de la position des lèvres) pour émettre le maximum d’énergie.

Pour un chant diphonique, il faut deux voix : le bourdon, la première, provient du fait que celui-ci est intense à l’émission et qu’il ne subit pas le filtrage des résonateurs. Son intensité, supérieure à celle des harmoniques, lui permet de survivre grâce à un rayonnement buccal et nasal. En fermant la cavité nasale, le bourdon diminuait en intensité : d’une part une source de rayonnement est fermée, et d’autre part le débit d’air est réduit de même que l’intensité sonore émise au niveau des cordes vocales.

L’intérêt d’avoir plusieurs cavités est primordial. Seul le couplage entre plusieurs cavités permet d’avoir un formant aigu tel que l’exige le chant diphonique. La tonalité du son monte si la bouche est grande ouverte. Pour mettre en évidence la formation d’un formant aigu, on a essayé de produire deux sortes de chant diphonique : l’un avec la langue au repos, la bouche devenant une grande et unique cavité, et l’autre avec la pointe de la langue remontant et touchant la voûte palatine, divisant ainsi la bouche en deux cavités. Dans le premier cas, les sons ne sont pas clairs. On entend très bien le bourdon mais la deuxième voix est difficile à entendre et la mélodie s’impose difficilement à l’écoute. Avec une cavité buccale unique, l’énergie du formant se disperse sur trois ou quatre harmoniques et la sensation de la deuxième voix devient beaucoup plus faible et l’effet diphonique disparaît. Par contre, quand la langue divise la bouche en deux cavités, le formant aigu et intense réapparaît.

Le chant diphonique nécessite un réseau de résonateurs sélectifs qui filtre uniquement les harmoniques désirés par le chanteur. Dans le cas d’un couplage serré entre les deux cavités, celles-ci donnent une résonance unique très aiguë. Si le couplage devient lâche, le formant a une intensité moins grande, et on étale l’énergie sonore dans le spectre. Si ces cavités se réduisent à une seule cavité, la courbe pointue devient encore plus ronde et on aboutit au premier exemple évoqué, consistant en un chant diphonique très flou (langue en position de « repos »).

Réalisation du chant diphonique

On peut produire les deux sons simultanés grâce à trois méthodes distinctes :

avec une cavité buccale : la langue peut être à plat, en position de repos, ou la base de la langue légèrement remontée sans jamais toucher la partie molle du palais. Seules la bouche et les lèvres bougent. Par cette variation de la cavité buccale en prononçant les deux voyelles ü et i liées sans interruption (comme si l’on disait « oui » en français), on perçoit une faible mélodie des harmoniques qui ne dépasse guère l’harmonique 8.
avec deux cavités buccales : on chante avec la voix de gorge, on prononce la lettre L, dès que la pointe de la langue touche le centre de la voûte palatine, on maintient cette position, on prononce ensuite la voyelle Ü avec toujours la pointe de la langue collée fermement contre le point de fixation entre le palais dur et le palais mou, on contracte les muscles du cou et ceux de l’abdomen pendant le chant comme si on essayait de soulever un objet très lourd, on donne un timbre très nasalisé en l’amplifiant à travers les fosses nasales, on prononce ensuite les deux voyelles I et Ü (ou bien O et A) liées mais alternées l’une après l’autre en plusieurs fois. Ainsi sont obtenus le bourdon et les harmoniques en pente ascendante et descendante selon le désir du chanteur. On varie la position des lèvres ou celle de la langue pour moduler la mélodie des harmoniques. La forte concentration musculaire augmente la clarté harmonique.
avec la base de la langue remontée et mordue par les molaires supérieurs pendant que le son de gorge est produit sur les deux voyelles I et Ü liées et répétées plusieurs fois pour créer une série d’harmoniques descendants et ascendants. Cette série d’harmoniques se situe entre 2 kHz et 3,5 kHz. Cette méthode ne permet pas le contrôle de la mélodie formantique et n’est qu’une démonstration expérimentale sur les possibilités de timbre harmonique.

Dans les années 1980, l’analyse comparée des spectogrammes fibroscopiques, stroboscopiques, laryngoscopiques et ceux du Sona-Graph a permis de classer pour la première fois les différents styles de chant diphonique d’Asie et d’Afrique du Sud en fonction des résonateurs, des contractions musculaires et des ornementations :

en mettant en évidence le bourdon harmonique et la mélodie fondamentale, ce qui est le contraire du principe initial du chant diphonique traditionnel ;
en croisant les deux mélodies (fondamentale et harmoniques) et en explorant le chant triphonique ;
en mettant en évidence les trois zones harmoniques sur la base d’un même son fondamental.

Utilisation thérapeutique du chant diphonique ?

Le D^r Tomatis a développé une théorie selon laquelle il existerait une relation entre harmonie et santé (mentale ou physique). Des musiciens ont voulu faire du chant diphonique un nouvel outil pour des applications thérapeutiques (Trần Quang Hải, Jill Purce, Jonathan Goldman, Dominique Bertrand, Véronique et Denis Fargeot, Philippe Barraqué, Bernard Dubreuil, Emmanuel Comte, Catherine Darbord).

Le pouvoir supposé du chant dépend de la mélodie, des qualités harmoniques de la voix et de la puissance du fondamental. Les principaux objectifs du chant diphonique, quand il est utilisé avec des visées thérapeutiques, est de rétablir la concentration et l’équilibre psychologique (voir thérapie vocale). On retrouve ces objectifs dans certaines pratiques chamaniques ou dans le chant des moines tibétains^{[réf. souhaitée]}.

Jill Purce (Royaume-Uni), par exemple, propose un travail fondé sur la respiration et le chant diphonique auprès de personnes qui bégaient, éprouvent des sensations de blocage dans la gorge, sont effrayées par leur propre voix ou qui souffrent d’inhibition, de troubles respiratoires, d’anxiété, de fatigue^{[réf. nécessaire]}.

Le chant diphonique a également été utilisé dans le but de diminuer la douleur physique pendant l’accouchement. Mais il n’existe aucune étude confirmant l’efficacité de cette méthode.

Aspect historique

La découverte et l’étude du chant diphonique remonte au XIX^e siècle. M. Rollin, professeur au Conservatoire de Paris, au XIX^e siècle, a dit qu’à la Cour de Charles le Téméraire, un baladin chantait à deux voix simultanées, la deuxième étant à la quinte de la première. Manuel Garcia junior, dans son Mémoire sur la voix humaine présenté à l’Académie des Sciences le 16 novembre 1840, a signalé le phénomène à double voix chez les paysans russes. Plusieurs voyageurs ont rapporté dans leurs récits de voyages qu’au Tibet se pratiquait le dédoublement de la voix pendant certaines récitations de mantras. Mais cette constatation n’était pas prise au sérieux.

En 1934, des chercheurs russes enregistrèrent des disques 78 tours de chant diphonique chez les Touvains ; étudiés par Aksenov, ils sont l’objet d’un article (publié en 1964 en URSS et traduit en allemand en 1967 et en anglais en 1973) considéré comme le premier sur le chant diphonique d’une grande valeur scientifique. Depuis, de nombreux chercheurs, acousticiens, ethnomusicologues, ont essayé de « dévoiler » les mystères du chant diphonique. On peut en citer quelques-uns : Lajos Vargyas (Hongrie, 1967), Emile Leipp (France, 1971), Gilles Léothaud (France, 1971), Roberte Hamayon et Mireille Helffer (France, 1973), Suzanne Borel-Maisonny (France, 1974), Trần Quang Hải (France, 1974), Richard Walcott (États-Unis, 1974), Sumi Gunji (Japon, 1980), Roberto Laneri (1983), Lauri Harvilahti (Finlande, 1983), Alain Desjacques (France, 1984), Ted Levin (États-Unis, 1988), Carole Pegg (Grande-Bretagne, 1988), Graziano Tisato (Italie, 1988), Hugo Zemp (France, 1989), Mark Van Tongeren (Pays-Bas, 1993).

Des appellations diverses furent proposées par des chercheurs français au cours des trente dernières années : « chant diphonique » (Emile Leipp, Gilles Léothaud en 1971, Tran Quang Hai en 1974), « voix guimbarde » (Roberte Hamayon et Mireille Helffer, 1973), « chant diphonique solo » (Claudie Marcel-Dubois, 1978), « chant diplophonique » (diplo en grec signifiant « deux », la diplophonie, terme d’origine médicale, désigne l’existence simultanée de deux sons de hauteur différente dans le larynx, Tran Quang Hai, 1993) et « chant biformantique » (chant à deux formants, Tran Quang Hai, 1994). Le terme de « chant harmonique » est plus délicat car chaque chant, quel que soit le type de voix, est créé par une série d’harmoniques renforcés différemment et sélectionnés suivant la volonté du chanteur pour créer une mélodie.

Des chanteurs ou compositeurs comme Trần Quang Hải (France, 1975), Demetrio Stratos (Italie, 1977), Roberto Laneri (Italie, 1978), David Hykes et son Harmonic Choir (États-Unis, 1983), Joan La Barbara (États-Unis, 1985), Meredith Monk (États-Unis, 1980), Michael Vetter (Allemagne, 1985), Christian Bollmann (Allemagne, 1985), Michael Reimann (Allemagne, 1986), Noah Pikes (Angleterre, 1985), Tamia (France, 1987), Quatuor Nomad (France, 1989), Valentin Clastrier (France, 1990), Bodjo Pinek (Yougoslavie, 1987), Josephine Truman (Australie, 1987), Iegor Reznikoff (France, 1989), Rollin Rachelle (Pays-Bas, 1990), Thomas Clements (France, 1990), Sarah Hopkins (Australie, 1990), Mauro Bagella (Italie, 1995), Lê Tuân Hùng (Australie, 1996),Véronique et Denis Fargeot (2003, 2008, 2013) ont introduit l’effet du chant diphonique dans les musiques actuelles (world music, new age, etc.) et dans la musique électro-acoustique.

Des musicothérapeutes, tels que Jill Purce (Royaume-Uni), Dominique Bertrand (France), Catherine Darbord (France), Philippe Barraqué (France) ont utilisé la technique du chant diphonique comme moyen thérapeutique reprenant une tradition chamanique, parfois combiné avec la gymnastique holistique dans le but de soigner les gens par les vibrations harmoniques et les mouvements corporels.

Films

Maîtres de chant diphonique (Masters of Mongolian Overtone Singing- Mongol khöömiich), un documentaire de Jean-François Castell, Les Films Du Rocher/La Curieuse, 2010 – Prix Bartok du meilleur film ethnomusicologique au 30^e Festival International Jean Rouch 2011 2013 – Prix vague émeraude du Festival 7^e art et science, Noirmoutier, 2012 – Prix Coup de pouce du Festival du film de chercheur, Nancy, 2011 – Prix Bartók de la Société française d’ethnomusicologie au 30^e Festival Jean Rouch, Bilan du film ethnographique, 2011 – Meilleur documentaire au Festival Aux quatre coins du monde, 2010 – Sélection « Coup de cœur » au Festival Écrans de l’aventure DVD – mars 2012 : « Maitres de chant diphonique », 53 minutes (+ 30 minutes bonus), Version française, anglaise et mongole, Coproduction Les Films du Rocher / La Curieuse

Le Chant des harmoniques, coauteurs : Tran Quang Hai & Hugo Zemp, réalisateur : Hugo Zemp, CNRS Audio-visuel, film 16 mm, 38 minutes, couleur, 1989 – Grand Prix du film scientifique à Parnü (Estonie), 1990, Prix Spécial de Recherche Scientifique, Palaiseau, 1990, Grand Prix du Film scientifique, Montréal, 1991 (réédition en DVD en 2005 – version française et en DVD en 2006 – version anglaise)

Le Chant diphonique, coauteurs : Tran Quang Hai & Luc Souvet, DVD, 28 minutes, CRDP, Saint Denis, Ile de la Réunion, 2004.

Références

https://haidiphonie.com [archive] : TRAN QUANG HAI / The World of Overtone Singing

https://tranquanghaisworldthroatsinging.com [archive] : TRAN QUANG HAI’s World Throat Singing

Bibliographie

(en) Jonathan Goldman, Healing Sounds: The Power of Harmonics.
Philippe Barraqué, À la source du chant sacré, éditions Diamantel, 1999.
Véronique et Denis Fargeot, La Voix tibétaine – Chants harmoniques sacrés (CD), collection Reliance, 2003.
Philippe Barraqué, La Guérison harmonique (techniques de chant diphonique), éditions Jouvence, 2004.
Ezzu, Alberto, (2009). Il Canto degli Armonici – Storia e tecniche del canto difonico, éditions Musica Practica, Torino.
Catherine Darbord : Chant harmonique, résonance intérieure : Méthode d’apprentissage (CD), éditions Prikosnovenie (2011).
Cyprien Bole, 2012, Chanter seul à deux voix, méthode complète de chant diphonique, livre et CD, éditions Les 2 oreilles, p. 1-134 (ISBN 978-2-7466-5068-8).
Véronique et Denis Fargeot, Chant harmonique – Voix tibétaine 2 (CD), collection Reliance, 2013.
Emmanuel Comte, Le Son d’Harmonie Livre avec CD inclus, éditions Medson 2012 (ISBN 978-2-9810345-2-6).

Liens externes

(fr) (en) (vi) Annuaires de liens [archive]
(en) Blog sur les musiques diphoniques [archive]
(fr) Démonstration du chant diphonique de Touva par le groupe Alash [archive]
* Maîtres de chant diphonique [archive]

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WIKIPEDIA : List of overtone musicians

List of overtone musicians

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This is a list of musicians utilizing some form of overtone singing. The groups they work with should be listed after.

Traditional

These are musicians using a traditional method of overtone singing: Overtone singing originates among the people in the Urankhai region of Siberia, who have historic links to Mongols (although they might speak Turkic languages, like Tuvans).

Tuvans and Mongols

Alash
Kaigal-ool Khovalyg of Huun-Huur-Tu
Igor Koshkendey of Chirgilchin
Anatoli Kuular formerly of Huun-Huur-Tu
Sainkho Namtchylak
Kongar-ool Ondar featured on Genghis Blues and work with Bela Fleck & The Flecktones
Okna Tsahan Zam from Kalmykia
Mongun-ool Ondar of Chirgilchin
Tyva Kyzy
Albert Kuvezin of Yat-Kha (formerly Huun-Huur-Tu)
Aldar Tamdyn of Chirgilchin
Tuvan National Orchestra
Saidash Mongush
Altai Khairkhan from Mongolia
Enkhjargal Dandarvaanchig alias Epi

Rest of the World

Tanya Tagaq from Nunavut
Paul Pena from San Francisco featured on Genghis Blues
Demetrio Stratos^[1]
Nils-Aslak Valkeapää Yoik singer from Finland
Fátima Miranda
Enrique Ugalde alias Soriah
Natascha Nikeprelevic
[1]
Tran Quang Hai Vietnamese overtone singer from France
[2]
[3] articles, video on throat singing around the world

Non-traditional

Roberto Laneri (Prima Materia, “La voce dell’arcobaleno”, “Nel cielo di Indra”) contemporary music composer, overtones singer and teacher
Overtone Choir Spektrum, Prague, Czech Republic – connects traditional choir singing with overtone techniques
Attila Csihar is a prominent figure in Black Metal and Extreme Metal and is noted for utilising the overtone technique most commonly with drone band Sunn O)))
Avi Kaplan Bass singer and vocal percussionist in Pentatonix
Ego Fall (Metalcore) and Tengger Cavalry (Black Metal) are Mongolian Folk Metal bands from Inner Mongolia that utilize Throat Singing.
Ray Anderson – jazz singer & trombonist
Theo Bleckmann – featured in composer John Hollenbeck‘s composition The Music of Life
Arrington de Dionyso of Old Time Relijun
Diamanda Galás – Greek-American performance artist and renowned vocalist; when performing an opera by Vinko Globokar she had to produce four tones at once ^[2]
Jim Gillette of Nitro
Dani Filth of Cradle Of Filth
Bruce Lamont of Yakuza
Darroh Sudderth of Fair to Midland
Baby Gramps – folk musician
John Hammink – engineer and singer, has originally used both Sygyt and Kargyraa for testing Skype audio quality, particularly as it relates to telephony hardware
David Hykes featured overtoning with his score for incarnate Tibetan lama Dzongsar Khyentese’s film “Travellers and Magicians”, the scores to “The Yatra Trilogy” by John Bush, and film trailer music for “The New World” by Terrence Malick, the first of the “Blade” movies and “X Men: The Last Stand”
Enver Izmailov throatsings on his album With My Best Wishes
Elton John produced hundreds of overtones on his 1986 world tour.
Space Mandino – American folk musician
Bobby McFerrin – jazz vocalist
Lalah Hathaway – soul & jazz vocalist, daughter of Donny Hathaway. Uses overtone singing during live improvisation^[3]
Aengus Ó Maoláin – Irish singer, both solo and with Anúna and Bulraga, uses both Karygraa and Sygt but mainly Khoomei
David Lee Roth (formerly of Van Halen) sometimes uses a multi-pitched wail similar to throat singing
Roswell Rudd – jazz trombonist, features a traditional Mongolian ensemble with a throat sing on his album Blue Mongol
Demetrio Stratos – Italian singer of Greek and Egyptian origin, explored diplophony, triplophony and even quadrophony with Area (band) and in his solo records, in particular Cantare la voce
Jimmy Urine of Mindless Self Indulgence
Pol Guasch – Catalan musician of the one-man-band Naakhum, uses mainly Kargyraa and occasionally Sygyt in his songs combined with Extreme Metal.
Anna-Maria Hefele ^[4]
Robert Een – American composer, cellist, and vocalist
Michael Ormiston – British Khöömii singer and teacher, multi-instrumentalist, composer
Loïc …W… – French Extreme Metal musician, vocalist of Bemskiant and Heboïdophrenie. Uses several overtones techniques combined with growling and screaming during live performance.

References

El Haouli, Janete (2006). Demetrio Stratos: En busca de la voz-música (in Spanish). México, D.F.: Radio Educación. OCLC 83779306. Demetrio Stratos and his voice which is, as El Haouli concludes, close to the tuva-mongolian throat singing tradition.
“Archived copy”. Archived from the original on 2014-11-08. Retrieved 2009-06-17.
https://www.youtube.com/watch?v=0SJIgTLe0hc

“Archived copy”. Archived from the original on 2014-10-06. Retrieved 2014-10-07.

Enrique Ugalde alias Soriah

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