TRANQUANGHAI's WORLD

http://youtu.be/ZjdaGsmihKg

2012-01-21T14:29:00.000-08:00

21 janv. 2012

TRAN QUANG HAI plays WALTZING MATILDA with a pair of spoons, January 21st 2012

TRAN QUANG HAI joue la mélodie très connue d'Australie avec une paire de cuillers

TRẦN QUANG HẢI trình diễn bản dân ca Úc bằng một cặp muỗng

Natascha Nikeprelevic RECITAL for voice and tambura

2012-01-18T02:03:00.000-08:00

31 mai 2010

To unfold the voice with overtone singing and to cross the borders of the harmonious context and the "corset" of the Tambura sound is program in RECITAL.

Natascha's Dao of Overtone Singing

2012-01-18T01:58:00.000-08:00

17 sept. 2009

With this Dao, Overtone Singing is made easy by Natascha Nikeprelevic. A true disciple of Michael Vetter, Natascha revealed in this documentary excerpt the four secret routes to the world of overtones: U - O - A; U - Yu - I; O - er - I; and A - a - ei - I. Yes, with this method everyone can enjoy his/her rich overtones!

Chinggis Khaanii Magtaal - Altai Khairkhan

2012-01-17T13:26:00.000-08:00

18 mai 2010

"Chinggis Khaanii Magtaal" by Altai Khairkhan

Female Mongolian Throat Singer

2012-01-17T13:23:00.000-08:00

16 févr. 2009

Support your local arts program.

Epi mongole voix basse profonde

2012-01-17T13:21:00.000-08:00

14 mars 2009

Mongolian chants (wild and wicked)

2012-01-17T13:19:00.000-08:00

9 nov. 2009

Recorded in Paris

Chant diphonique mongol

2012-01-17T13:17:00.000-08:00

22 févr. 2010 Chant diphonique par une troupe de Mongolie, de passage en banlieue parisienne, le 7 janvier 2010

TRAN QUANG HAI sings overtones, Paris, January 15th 2012

2012-01-16T08:42:00.000-08:00

16 janv. 2012

TRAN QUANG HAI sings overtones in a short improvisation at the musical event dedicated to the gathering of old friends of Folkclub Le Bourdon in Paris, January 15th 2012.
This idea came from Dominique Maroutian and Jean François Dutertre . Receive here my warmest thanks

Filmed by Bach Yen, Paris, 22 rue Delambre , January 15th 2012

Duet of overtone singing - Bạch Yến & Trần Quang Hải

2012-01-13T12:23:00.000-08:00

23 mai 2009

Trần Quang Hải and his wife Bạch Yến showed the way of using overtones to sing together . She sang the fundamental in C# and Trần Quang Hải sang the fundamental in F# . Then they mixed the 2 fundamentals with overtones in 2 different levels .

Filmed in Limeil Brévannes, France, on Saturday May 23rd 2009

overtone singing, chinese Lute "Pipa" and computer music

2012-01-13T12:19:00.000-08:00

23 juin 2009

It was a live concert 2007 in vienna, which was performed by vientness overtone singer Tran Quang Hai, Pipa player Pei Ju Tsai, computer music Johannes Kretz.
This peace is a free improvisation modern music.

TRAN QUANG HAI & LUCA in an IMPROVISATION

2012-01-13T12:18:00.000-08:00

14 sept. 2009

Luca played the didjeridu while Tran Quang Hai used his voice in a deep register for a short improvisation at Luca's Accademia dello spettacolo.
Milan September 13, 2009

Tran Quang Hai - "Omaggio a Demetrio Stratos '08"

2012-01-13T12:16:00.000-08:00

18 août 2008

Tran Quang Hai durante la prima serata della rassegna musica diversa "Omaggio a Demetrio Stratos '08"

Potete trovare il video integrale su:
You can find the full video on:

www.modomusica.com/omaggiods/videoODS2008/

Il video è stato realizzato da:
This video is created by:

www.youtube.it/fastpn/

Collective improvisation, Italy, november 7, 2010

2012-01-13T12:13:00.000-08:00

9 nov. 2010

Collective vocal improvisation led by Giacomo was performed by the whole group of participants of the workshop of overtone singing directed by Tran Quang Hai , organized by Andrea Ferroni at his place

The participants from left to right : Giacomo, Roberto, Anna, Monica, Roberto, Andrea, Marco, Laura, Gabriele, Vincenzo, Domenico, Matteo, Patrizio, Andrea

Filmed by Tran Quang Hai, November 7, 2010

Tran Quang Hai & Benjamin Taubkin improvize together.

2012-01-13T12:11:00.000-08:00

28 mai 2010

Tran Quang Hai & Benjamin Taubkin improvize together.
Tran Quang Hai sings and Benjamin Taubkin plays the piano in an improvisation during Benjamin's workshop at the Theater municipal , Dourados, Mato Grosso do Sul, BRAZIL in the framework of the V Preludios - Festival internacional de musica from 23 till 30 may 2010

Filmed by Mirian Suzuki, at the theater municipal, Dourados, 25 may 2010

Spectrum of Tran Quang Hai 's song "Nêu em ngoan"

2012-01-13T12:09:00.000-08:00

15 févr. 2009

Trân Quang Hai sung "Nêu Em Ngoan" composed by him to create a spectrum thanks to the software "Overtone Analyzer" (Maass/Saus from Germany)

Filmed in Limeil Brevannes, France, Sunday 15 February 2009

TRAN QUANG HAI sings a Mongolian tune 4 times in 1 breath of 78 seconds with overtones.

2012-01-13T12:07:00.000-08:00

8 mai 2010

TRAN QUANG HAI sings a Mongolian tune 4 times in 1 breath of 78 seconds with overtones.

Filmed by Bach Yen, in Limeil Brévannes, May 8th 2010

Modifier les annotations Modifier les sous-titres AudioSwap Analytics Promouvoir Trần Quang Hải uses overtones to sing CÒ LẢ at Hạ Long Bay

2012-01-13T12:06:00.000-08:00

2 août 2010

Trần Quang Hải uses overtones to sing CÒ LẢ, a well known North vietnamese folk song at Hạ Long Bay

Filmed by Diệu Hương, Hạ Long Bay, Vietnam,
25th July 2010

Michel MOGLIA & TRAN QUANG HAI avec orgue à feu, 2ème partie

2012-01-13T12:04:00.000-08:00

30 juil. 2008

Michel MOGLIA, inventeur de l'orgue à feu, a invité Tran Quang Hai pour une improvisation entre l'orgue à feu et la voix, 2ème partie (suite)

Tran Quang Hai chante Hymne à la joie avec harmoniques 30.01.10

2012-01-12T12:06:00.000-08:00

31 janv. 2010

Tran Quang Hai chante Hymne à la joie avec harmoniques à la Soirée au profit des victimes de l'Agent Orange , Choisy le Roi, 30 janvier 2010

Filmé par Bạch Yến

The ODE TO JOY with overtone singing style by TRAN QUANG HAI

2012-01-12T12:04:00.000-08:00

1 nov. 2010

TRAN QUANG HAI sang the Ode to Joy with the use of overtones in one breath at NIAGARA Falls (Canadian Side),on October 21st, 2010

Filmed by Bạch Yến .

TRAN QUANG HAI sings "the Ode to Joy" with overtones in Montreal, CANADA

2012-01-12T12:02:00.000-08:00

12 mai 2009

During his visit to his friend LÊ HỮU MỤC at LA PROVIDENCE (house for the old people) in Montreal (Canada), TRan quang Hai sang "the Ode to Joy" for the old people to entertain them in presence of his wife Bạch Yến and his friend Lê Hữu Mục.

Filmed at La Providence, Montreal, CANADA by Bạch Yến, May 3rd 2009

TRAN QUANG HAI sang "the Ode to Joy" with overtones in one breath, Berlin

2012-01-12T12:00:00.001-08:00

14 avril 2010

TRAN QUANG HAI sang "the Ode to Joy" with overtones in one breath, Berlin, Germany

Filmed by Jens Mügge, Berlin, 9 April 2010

Different types of voice in an improvisation by TRAN QUANG HAI.

2012-01-12T11:59:00.000-08:00

25 juin 2010

Different types of voice in an improvisation by TRAN QUANG HAI.

Filmed in Limeil Brévannes, 25 june 2010

TRAN QUANG HAI sang a Mongolian folk tune with overtones, Berlin

2012-01-12T11:57:00.000-08:00

14 avril 2010

TRAN QUANG HAI sang a Mongolian Folk tune with overtones, Berlin in a shop of chocolate

Filmed by Jens Mügge, Berlin, 9 April 2010

TRAN QUANG HAI sings Mongolian tunes with overtones in ROMA

2012-01-12T11:56:00.000-08:00

29 janv. 2010

TRAN QUANG HAI sings Mongolian tunes with overtones in ROMA, ITALY

Filmed in Roma, on Sunday 24 January 2010

TRAN QUANG HAI sings overtones on Reunion Island

2012-01-12T11:54:00.000-08:00

29 oct. 2008

Tran Quang Hai sings Mongolian and Tuvin tunes with overtone singing style at his cousin's house (my cousin's name is HO Hai Quang )in La Possession (Reunion Island), 28 October 2008

TRAN QUANG HAI sings overtones at the famous restaurant on the way to Montreal, Canada, May 4,

2012-01-12T11:52:00.001-08:00

19 mai 2009

TRAN QUANG HAI sings overtones to leave an harmonic souvenir in Canada .

Filmed on the road to Quebec city, May 4th 2009

Tran Quang Hai sings overtones at JMF show, Boulogne Billancourt, France , January 7, 2012

2012-01-12T11:50:00.000-08:00

8 janv. 2012

Tran Quang Hai sings overtones at JMF show, Boulogne Billancourt, France , January 7, 2012

Trần Quang Hải hát đồng song thanh tại dạ hội JMF, Boulogne Billancourt, 7 thánvg 1, 2012

TRAN QUANG HAI joue de la guimbarde , JMF 70 ans, Boulogne Billancourt, 7 janvier 2012

2012-01-09T03:40:00.000-08:00

8 janv. 2012

TRAN QUANG HAI plays the Yakut jew's harp at the JMF music evening, Boulogne Billancourt, january 7th 2012

TRẦN QUANG HẢI chơi đàn môi xứ Yakutia tại dạ hội JMF? Boulogne Billancourt, 7 tháng 1, 2012

Lucy Hornby :Mongolian throat singers defend tradition against China

2012-01-07T05:17:00.000-08:00

Mongolian throat singers defend tradition against China

By Jargal Byambasuren

ULAN BATOR | Thu Feb 11, 2010 5:06am EST

(Reuters Life!) - Bitonal humming is not a common form of patriotic protest, but for traditional Mongolian singers, it was the best way to lay claim to an art form they say has been usurped by China.
The United Nations Educational, Scientific and Cultural Organization, or UNESCO, in November listed Mongolian throat singing as an art native to China, outraging Mongolian performers and fans who proudly remember that Genghis Khan conquered China 800 years ago.
Sandwiched between Russia and China, Mongolians fear China's growing economic and diplomatic power will overwhelm their landlocked country.
"Mongolians have neither lost nor forgotten the heritage passed down to us by our ancestors," said Sumiyabazriin Zagd-Ochir, one of many throat singers who crowded into Ulan Bator's Central Cultural Palace to defend their claim to the art.
"For years, this art has been performed and handed down to the younger generations. It has a very high standard of development and it will develop more."
China is the sole country named on the UNESCO representative listing for throat singing, although the brief explanation says Mongolian communities in Inner Mongolia in China, western Mongolia and Russia all practice the art.
Throat singers can simultaneously produce two different notes. A hum in the throat harmonizes with the melody.
China has 500 times Mongolia's population. Han Chinese outnumber ethnic Mongolians in Inner Mongolia, and dominate the regional government as well as heavy industry and mining.
Mongolia's Minister of Education, Culture and Sciences sent a letter to the Director of the World Heritage Center of UNESCO expressing his "deep concerns" over the listing, Mongolia's UB Post reported earlier this month.
This is not the first time a UNESCO designation has caused controversy. North Korea opposed China's attempts to register the the royal tombs of the ancient Koguryo kingdom with UNESCO, on the grounds that the kingdom was an ethnic Korean kingdom. UNESCO in 2004 listed Koguryo-era tombs in both countries.
Eight centuries ago, Mongol clans under Genghis Khan controlled the steppes stretching from Beijing to Poland. One of their legacies is throat singing, also performed by people in Tuva, a Russian republic bordering Mongolia and Siberia.
Mongolia and China already share one art form recognized by UNESCO. Urtiin duu, a Mongolian folk song, is listed as a multinational art with elements from both China and Mongolia.
"Mongolian throat singing and the Mongolian horse head instrument belong to Mongolia," said 63-year-old Lambiranii Rentsen.
"I believe UNESCO will correct its mistake."
(Writing by Lucy Hornby, editing by Miral Fahmy)

China Traditional Orchestra of Inner Mongolia, 2012

2012-01-07T05:14:00.000-08:00

China Traditional Orchestra of Inner Mongolia, 2012
Tour Dates:22 Jan - 2 Feb, 2012
The Traditional Chinese Orchestra of Inner Mongolia is the only orchestra of its kind in Inner Mongolia. Originating with forty members, the Orchestra performed as a part of the Man-Han Opera Group until 2004, the year of its official formation, when it began to perform independently with a group of more than 60 musicians. Due to numerous performances in recent years and successful co-operations with famous conductors such as Pang Kapang, Zhang Lie and Zheng Chaoji (Singapore), the Orchestra has developed into a highly professional and technically demanding musical arrangement.
Inner Mongolia is an Autonomous Region, home to the Mongolian ethnic minority, which has been living side by side with the Han-Chinese for centuries. The region has a rich tradition of folk music such as Long, Han-Man and Mongolian Duet Singing. In recent years, the orchestra has invested effort into collecting traditional folk pieces and transforming them into contemporary arrangements such as, The Drums of Yin Mountain and Gambling, which because of their authenticity and use of traditional instruments have become audience favorites. The Orchestra's performance tours abroad, such as in Singapore and France, have been rated very positively by the public for their authentic and elegant presentation of Far Eastern music.
The Traditional Chinese Orchestra of Inner Mongolia consists of a total of 68 musicians and focuses its work primarily on traditional music concerts, supporting large-scale performances of the Han-Man Theatre, as well as composing new songs and musical education. As a prime example of the musical tradition of Inner Mongolia, the orchestra is dedicated to the promotion of inner Mongolian music by professional performances and the composition of authentic pieces that remain true to their ethnic and geographic origin.
Condcutor: Lie ZHANG
Lie Zhang is a member of the Chinese Musicians Association and the director of the China National Orchestra Society. He is also the Vice Secretary-General of the China Conductor Committee and a national level conductor.
Currently, Lie Zhang is the permanent conductor of the China Radio, Film and Symphony Orchestra as well as the Radio National Orchestra. Previous positions include: art director and guest conductor for the Central Conservatory of Music; the Hong Kong Chinese Orchestra; the Singapore Chinese Orchestra; the Taipei Municipal Orchestra of Chinese Traditional Music the Hong Kong Academy for Performing Arts; and the permanent conductor of the Guangdong Orchestra.
Lie Zhang graduated from the Xi'an Conservatory of Music in 1984 and received further education in the Conducting Department of the Chinese Central Conservatory of Music after which he attended master classes in conducting under the guidance of Professor Baum in Germany.
Lie Zhang has worked in Europe, Asia, and the United States as well as in Greater China: Hong Kong, Macao and Taiwan. He has written orchestral and ballet music, movie scores, and had work commissioned from the National Orchestra, as well as done concerto and vocal arrangements for more than a hundred works and for this work he has received many awards. His percussion concerto Random Thoughts of Guan Mountain has been in the repertoire of traditional orchestras in Hong Kong, Singapore, Taiwan and Mainland China. Major works in recent years include: Symphonic Song of the Wind and Song of Resentment, and music for the movies Dumb Mama and Village of the Sour Jujube. His work for Fantasia Little Balang won the first prize in the national competition and Boat Tracker of Huang River won the golden prize of the national competition.
Lie Zhang has a clear and meticulous style of conducting. He is full of passion and has an ability to grasp at the inner soul of the music and reveal it in an innovated way. A British critic once said, "Lie Zhang has a deep understanding of Chinese traditional instruments and his own ways to explain music. He's the soul of a concept; he can balance the sense of music and control the atmosphere of the audience. He can lead the audience in to a world of rich and varied feeling." In recent years, Zhang Lie's work and music has been popular and attracted much attention and praise.

Soprano: Fenglian ZHANG

Fenglian Zhang who enjoys the state's special allowance is the Vice president of Man Han Opera Theatre. Fenglian Zhang is a national first grade performer. She has represented China and Inner Mongolia performing at the Third China Drama Festival in Paris, France, and won the Individual Gold Medal as well as the Collective Traditional Repertoire Award. She also went to Mongolia for a series of exchange performances in celebration of 60 years diplomatic relations between China and Mongolia receiving stellar reviews from experts and audience members alike.

Mongolian Singer: Tu Ya

Mongolian singer Tu Ya is a national second grade performer and recipient of the Ethnic Minorities Singing Contest's second prize. She represented China and Inner Mongolia performing at the Third China Drama Festival in Paris, France, and won the Collective Traditional Repertoire Award.

Morin Khuur: Men De

Horse-head fiddle player and biophoric singer Men De is a national second grade musician who has taken part in the competition of instrumental and vocal music several times. Inheriting a singing style of intangible cultural heritage, Men De participated in the Wiener Musikvereins and earned positive comments. He represented China and Inner Mongolia performing at the Third China Drama Festival in Paris, France, and won the Collective Traditional Repertoire Award.

Long Song:

This genre of music is called Long Song (Urtyn Duu) because each syllable of text is extended for a long duration. For example, a four-minute song may only consist of ten words. Lyrical themes vary depending on context; they can be philosophical, religious, romantic, or celebratory, and often use horses as a symbol or theme throughout the song. Eastern Mongols typically use a morin khuur (horse-head fiddle) as accompaniment and sometimes a type of indigenous flute named limbe. The Oirat groups of the Western Mongols on the other hand, typically sing Long Songs unaccompanied or accompanied with the igil.

Morin Khuur (Horse-head fiddle):

The horse-head fiddle, or morin khuur, is a distinctively Mongolian instrument and is seen as a symbol of the country. The instrument has two strings. There is some controversy regarding the traditional carving of a horse on the upper end of the peg box. Some scholars believe that this is proof that the instrument was originally a shamanistic instrument, as the staffs of shamans have a horse similarly carved on top. The horse is a much-revered animal in Mongolia.

Throat Singing（Overtone singing）:

Perhaps the best-known musical form of the Mongols is the throat singing tradition known as hoomii, extant among most Mongols though best known internationally from Tuva. In Mongolia, the most famous throat-singers include Khalkhas such as Gereltsogt and Sundui, while the Tuvan group Huun-Huur-Tu has an international following. This unique type of singing involves the production of two distinctively audible pitches at the same time, including a low pedal note, or drone, derived from the fundamental frequency of the vocal cord vibrations, and higher melodic notes that result when the singer's mouth acts as a filter, selecting one note at a time from among the drone's natural overtone series pitches.

http://www.wupromotion.com/en/about-us/our-history/519-china-traditional-orchestra-of-inner-mongolia-2012

UNESCO listed Mongolian throat singing

2012-01-07T05:12:00.002-08:00

UNESCO listed Mongolian throat singing

The United Nations Educational, Scientific and Cultural Organization, or UNESCO, listed Mongolian throat singing as an art native to Mongolia. Since the beginning of this year, the Culture and Arts Policy Department of Ministry of Education, Culture and Science has submitted over 10 intangible heritages to register with UNESCO including assembling of a traditional dwelling ger, spring game, the traditional Mongolian script and contortion. The throat singing and Mongolian three manly national sports were submitted back in 2009. At its recent meeting in Nairobi the UNESCO Council inscribed Mongolian Khoomii in the Representative List of Intangible Cultural Heritage of mankind.

It is believed the art of throat singing has originated from south western Mongolia in today's Khovd and Govi-Altai provinces. Nowadays, throat singing is found throughout the country and is often considered as the most active place of throat singing in the world. Throat singing is Mongolia's invaluable contribution to world. Although this type of unique singing developed in Mongolia in its classical form, it is also performed in Inner Mongolian Autonomous region of China, the Russian Biriatia and Tuva. Throat singing is a special sound made in unison with the tongue, teeth, larynx and palate. To put it simply, it is a replacement of musical instruments with all aspects of vocal organs. It is said that there is no other nation in the world that can combine such human physical capacity in place of musical instruments, than Mongolia. The famous Russian Scientist, P. Chukot measured throat singing with sensative sound equipment and discovered that it was formed from converging tunes of different scale octaves between lower tone (which incidentally makes up the primary tone) and a combination of high peaks.

The technique of throat singing may be easy to write about- but it is almost impossible to actually try to perform. To perform the higher tune, the singer should bend (or fold) the tongue, and tap skilled sounds with the tongue point and whisper through the front teeth. At the same time the converged melody is made by making lips conical. As the basic tune resonates, a melodic buzzing sound also reverberates. Because of the unique skills needed to master this type of venerated singing is rigorous. In order to be a throat singer, one must not only have a capacious throat, but more importantly- the ability to refine through hard work and demonstrate a real patience for the continuous development of it.

It is difficult to pinpoint the period when throat singing actually started, but as an art it started to develop during the 19th century. The Mongolian art of singing: Khoomei or ‘throat singing’ is a style of singing in which a single performer produces a diversified harmony of multiple voice parts, including a continued bass element produced in the throat. Khoomii singers may perform alone or in groups. Traditionally performed on the occasion of ritual ceremonies, songs express respect and praise for the natural world, for the ancestors of the Mongolian people and for great heroes. The form is reserved for special events and group activities such as horse races, archery and wrestling tournaments, large banquets and sacrificial rituals. Khoomei has long been regarded as a central element representing Mongolian culture and remains a strong symbol of national or ethnic identity. As a window into the philosophy and aesthetic values of the Mongolian people it has attracted attention around the world as a unique form of musical expression. The most commonly practiced style Khöömii 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 sing many other styles such as "karkhiraa" (literally "growling") and "isgeree" whistling.

The Mongolian Government accessed and ratified the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage in 2005 and Convention concerning the Protection of the World Cultural and Natural Heritage in 1992. The UNESCO launched an initiative to release and declare ‘Masterpieces of Oral and Intangible Heritage of Humanity’ in 2001, while the third release of the list was issued in 2005, there being over 80 items of intangible cultural heritage inscribed in the list. As intangible cultural heritage created by the Mongolian nationality, ‘morin khuur’ (horse head fiddle) was declared ‘a Masterpiece of Oral and Intangible Heritage of Humanity’ in 2003, as well as whereas ‘urtiin duu’ (long song) in 2005 so that they were incorporated in the ‘Representative List of Intangible Cultural Heritage of Humanity’ in 2008 based on the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. The Parliament of Mongolia passed a ‘Law on Protecting Cultural Heritage’, and the Mongolian President issued a Decree on promoting and developing traditional culture of morin khuur, long songs and huumii, while the Government has implemented a ‘National programme for promoting tradutional culture’ and other initiatives, such as the ‘Morin khuur and long songs’ action plans. Past May Mongolia inscribed three of its heritages to the UNESCO intangible heritage urgent safeguarding list including Mongol bielgee - Mongolian traditional folk dance, “Tsuur”- Mongolian traditional music of tsuur, Mongol tuuli - Mongolian Epic singing. http://www.vom.mn/en/index.php?option=com_content&view=article&id=333:unesco-listed-mongolian-throat-singing&catid=40:old-pages-of-mongolian-history&Itemid=59

Website HANGGAI

2012-01-07T05:11:00.000-08:00

HangGai

HangGai by Yoshito Katori, August 27th, 2005 in Shanghai

Background Information
Name (English)	HangGai
Name (Chn.)	杭盖 / HangGai
Origin	Beijing
Genre	Mongolian folk
Years active	2004 - present
Members
Vocalist and tobshuur player Ilchi (Yi Lin Qi) (ex-T9) is from central Inner Mongolia's Xilingol Drummer Boyinjaya is from northeastern Inner Mongolia's Hulunbuir Morin khuur player Gugjilt comes from eastern Inner Mongolia's Horqin Plucked instrumentalist Boldoo is from southwestern Inner Mongolia's Ordos Vocalist Hurchhu is from the Haixi Mongolian Autonomous Prefecture of Qinghai Province.

History

Introduction

Hanggai, an ancient Mongol word. The meaning is, one place has the blue sky , white cloud , grassland , river , mountain and woods. HangGai bang is made up of 5 young musicians form different areas of China; it is a band that throws oneself into the Mongolian music. The Mongols and the Han nationality form the musicians.
The musical instrument includes the horse-headed instrument, Tu-Pu-Shuo-Er (a kind of old plucked instrument in Mongolia), guitar, bass, and so on, Perhaps should count as that kind of peculiar " musical instrument " –Hu Mai－The singing laws that send out two even three pieces of sound with the throat at the same time.
Through merging and developing the traditional music from different areas of Mongolia, the music of Hanggai band is changing direction in the oldest form from the most modern form. For Hanggai band, through go in for rock music and underground culture for a long timing, there is no difference between these two forms. "Do the Mongolians growing up in city miss their grassland?" In fact, this question belongs to all contemporary, those children beginning to miss the root.
Sometimes, people will mention the previous of the band, it once criticized, roared, having published the disc of the new metal style, but that goes over, Hanggai, it is today and the future.
China is a country of nations: Fifty-five different minority groups inhabit a wide range of the country’s geography. For many of these groups, music is the way in which their cultural survival is ensured. While China’s capital may seem like a strange place for a Mongolian folk revival, Hanggai, a five-piece folk outfit composed of ethnic Mongolians, is captivating Beijing’s rock-heavy music scene with their brand of traditional Mongolian music with a contemporary feel.
Traditional Mongolian music is based in the rhythms and sounds of horseback riding, wherein lie the roots of its culture. Hanggai combines primarily traditional instruments – the morin khuur, or horse-head fiddle, and the tobshuur (two-stringed lute) – with a throat singing technique (hoomei) that has been handed down over the course of more than two millennia and elicits the rolling plains of the Mongolian grasslands. Indeed, the band’s name is an ancient word that refers to a heavenly combination of the best of the Mongolian landscape – big blue skies, mountains, rivers, trees. A tasteful addition of modern flavour is the result of the group’s time in Beijing’s rock underground in a variety of bands and is balanced by their commitment to preserving the traditions of Mongolian music through regular musical pilgrimages to Inner Mongolia.
Hanggai has been called “one of the more soulful groups in town” by one of Beijing’s major media outlets, and is leading the charge of a small collection of folk musicians bringing traditional music into the urban scene. The band has performed to audiences of thousands at the massive Gegentala Inner Mongolian Rock Festival (Aug 05) and at Beijing’s Midi Music Festival (Oct 05); in support of (and in jam sessions with) Norwegian group Poing and Nettwerk Records folk artist Abigail Washburn’s November 2005 tour of China; and in venues around the country. The group’s self-produced and self-distributed release is a surprising listen: Recorded primarily with one microphone, its sales – only off the stage at Hanggai shows – represent a desire on behalf of Beijing audiences for a return to the roots.
HangGai are being called the pioneers of “Chinagrass”.^[1]

Short Biography

Taken from Wacken band pages:
Chinese youths discover their musical roots: Hanggai draw inspiration from the ample and rich musical sources from the Steppe of inner Mongolia. China has not always had a fine sense of hearing for its minorities, for the older generations the Cultural Revolution was not all that long ago. Still, this huge land is in a state of upheaval, and young musicians are newly discovering their sense of tradition.
When the punk-rocker from Peking, Ilchi heard throat singing for the first time, he was firmly decided to discover more of his Mongolian heritage. He travelled there, met two traditional musicians named Hugejiltu and Bagen, and soon after Hanggai was born. Founded in Peking but dedicated to traditional Mongolian songs, Hanggais rambling, indisputably brilliant music has found many fans.
Since 2009 the band have also been very successful abroad, the summer tour lead them to big festivals such as Roskilde, Lowlands, Sfinks, Womad and Sziget where they left enthused crowds in their wake. In October they performed an official Showcase at Womex.
Hanggai’s music is based on traditional music from the Grassland. It is played predominantly on the double sided lute and the “horse-head” violin, sung in Mongolian, also with the technique of the overtone singing. Both of the western producers, Matteo Scumaci and Robin Haller, were very modest with their work. The arrangements are carefully constructed and don’t infringe on the sound structure of songs from the Grassland. Moreover the overtone singing does not turn into artistic voice acrobatics.
Hanggai sing about mongolian Robin Hoods and mix throat singing with elements of rock. They dress like men from the Steppe, although they live in the buzzing metropolis of Peking. Of course, embodying contradictions comes naturally to ethnic minorities in China – only this time it’s different.
With their natural voices, elegantly arranged songs, first-class produced album and the oddly familiar melodies, Hanggai have successfully breached the gap from folk phenomenon to crossover pioneers – and without losing their souls. Made from – and meant for- the wide open lands of Mongolia, this music will make you homesick for a place you’ve never been.

Timeline

2004

On May 1st, 2004, Beijing punk band T9 renames and reforms itself as HangGai band with the following lineup: Yi Li Qi（Vo）, 徐京晨（G）, Bai Yin（G&Matouqin）, 劉石揚（B）and 陳昆（Dr）, playing Mongolian folk music. The meaning & translation of HangGai is forest. The band combines traditional Mongolian instruments with traditional rock instruments, such as bass and guitar. On My 22nd, they performed in the 路尚 bar. On May 28th, they rocked the Nameless Highland. On June 20th, they performed in the 九宵倶楽部 during the French Music Festival (法国音楽節). On November 7th, they performed in the Yugong Yishan. On December 8th, they rocked the Yugong Yishan during the "In memorial of John Lennon" gig.

2005

Hanggai in 2005, photo: Democn

In 2005, the lineup consisted of Yi Li Qi （Vo）, 徐京晨（G）, Bai Yin（G&Matouqin）, 希吉爾（B） and Chen Kun（Dr&Per）. On May 24th, they performed in the Yugong Yishan. On May 26th, they rocked the Nameless Highland. On July 13th, they rocked the Yuyong Yishan. In July they also released their first record Hanggai. On July 31st, they performed at the 2005 Gegentala Festival in Inner Mongolia. August 24th, they performed at the Yugong Yishan. On August 27th, they performed at Shanghai's 哈雷 bar. On August 28th, they performed at Hangzhou's 旅行者 bar. At this gig, Chen Kun did not join and 寶音 of Nie Chi served as drummer. On September 4th, they performed at the 中央民族大学科爾沁餐庁 together with Yat-Kha and Mamur. On September 18th, they performed at the Nameless Highland during the 勿忘国耻－記念（九・一八事変）音楽会. On October 2nd, they rocked the Midi Music Festival 2005. After this gig 柏音 leaves the band and 吉勒圖（Matouqin） and 寶勒金（DJ） join. On December 21st, they performed at the Yugong Yishan. On December 23rd, they rocked the New Get Lucky Bar during the Rock Mongolia 北京首場蒙古（揺滾楽隊）大Party. On December 25th, they performed at the Nameless Highland. On December 30th, they rocked the 2 Kolegas.

2009

In May 2009, Yi Li Qi is voted the no. 13 coolest rock star in Beijing by Timeout Beijing Magazine. Yi Liqi has gone through a more dramatic musical transformation than most Beijing rock stars. In 1996, he formed Qingpi (or Slacker), which was a straight-up grunge band; then came T9, a hardcore band which initially had heavy Rage Against The Machine leanings. But gradually Yi got less angry and more connected to his native Inner Mongolia. In 2003, he went to Hohhot and learned xoomei (throat singing) from legendary teacher Aodu Surong, also learning traditional Mongolian instruments such as the tobushuur (twostringed lute) and the morinhuur (horse-hair fiddle).^[2] In September 2009 their song Five Heroes is included in the So Rock! Magazine (no. 90).

2010

On May 3rd, 2010, they performed at the Midi Music Festival 2010.

Other Sources

Taken from juefestival.com:
Hanggai, from the steppes of Mongolia by way of Beijing, is a crossover band that blends world music and rock and roll. The band is comprised of members from Beijing, Inner Mongolia, which covers a vast portion of China’s north, Xinjiang in China’s far northwest, and Qinghai’s Haixi Mongolian Prefecture in northwest China. As anyone who has seen one of their live performances (including their JUE 2010 appearance at Mao Livehouse) knows very well, Hanggai put on a spectacularly glorious, rowdy and transcendent live show, complete with throat singing, mouth harping, foot stomping and beer swilling.
Last September saw the release of Hanggai’s second album, “He Who Travels Far,” which was produced by Ken Stringfellow, an American musician and producer who has worked with the likes of R.E.M and Neil Young and features the legendary guitar stylings of Tom Waits’ frequent collaborator, Marc Ribot. Critics are pretty much obsessed with the album, which has earned 4 Stars from world music authorities including Earthbeat and World Connection.
What’s that you say? You’re still hungry for more info About Hanggai? Well then, let us regale you with the story of the band’s beginnings:
Formed in 2004 when frontman Ilchi and fomer bandmate Xu Jingcheng re-discovered the beauty of traditional Mongolian music, the band has now grown to seven players, Batu Bagen (Inner Mongolia), Ilchi (Inner Mongolia/Beijing), Illeta (Inner Mongolia), Hurcha (Qinghai), Li Zhongtao (Li Dan) (Xinjiang), Niu Xin (Inner Mongolia) and Xu Jingchen (Beijing).
Hanggai’s sound is based in traditional Mongolian music, a world that is rich in material, because each part of Mongolia (be that Outer Mongolia or Inner Mongolia) has its own musical traditions. Selecting folk tunes that offer a unique sound or emotion, the band works together to craft songs that retain their traditional base while offering a more modern sound. Traditional instruments like the horehead fiddle, the mouth harp and the sanxian fit comfortably side by side with more modern instruments like electric guitar, electric bass and a Western drum kit.

Participated Festivals

Midi Music Festival 2010, May 1st-4th 2010	Lijiang Snow Mountain Music Festival 2007	Midi Music Festival 2005, October 2005	as the first Chinese band performing on the biggest rock festival on Earth: Wacken 2010
CD Release Party on JUE Festival 2011

Appearances in Press/Books

Mentioned as "Other Notable Act" in the Insider's Guide to Beijing 2008.

Discography

Mongolian Folk Music - 2007

Hanggai - 2005, July

Videos

Hanggai live at Kaffe Burger, Berlin

Further Information

Official pages

Other pages

Articles & Interviews

Photos

Photos of Hanggai

Videos

References

↑ WMC News Dept. (2009-09-15). "New York Debut of Chinagrass Innovators Hanggai". Retrieved on 2010-04-04.
↑ Timeout Beijing Magazine (May 2009). "Class of '09". Retrieved on 2009-05-07.

http://www.rockinchina.com/w/HangGai

A showdown over traditional throat singing divides China and Mongolia

2012-01-07T05:09:00.000-08:00

A showdown over traditional throat singing divides China and Mongolia

For nearly two decades, Odsuren Baatar, a master of Mongolian throat singing, has been visiting China to teach his craft — making the human voice soar, quiver and drone, its pitches in eerie unison like a bagpipe.

August 10, 2011 on: culture

When he first started going there, his pupils were all beginners, because nobody in China knew much about throat singing.

But they were eager to learn and, after years of sharing his techniques, Odsuren took pride in having helped promote an art form prized here in Mongolia as a singular national treasure. His pride, however, turned to dismay and then anger when he saw a copy of a video that China had quietly submitted to the United Nations Educational, Scientific and Cultural Organization: it featured one of his former students pitching a bid by Beijing to have throat singing registered by the United Nations as part of the “intangible cultural heritage of humanity,” with China getting the credit. “I was in shock. I taught them and then they say it is theirs,” said Odsuren. Throat singing — a fiendishly difficult practice that musicologists know as overtone singing — has often attracted interest, sometimes covetous, from outside Mongolia. The Russian region of Tuva, which borders Mongolia, tried briefly in the 1990s to brand it as Tuvan and impose a licensing system on throat singers. Frank Zappa, the late American musician,jammed with a throat-rock ensemble called Huun-Huur-Tu, and folk music aficionados around the world have long marveled at how a good throat singer can produce two or more distinct pitches simultaneously in an otherworldly mix of melody and tone.
But China has proved the most zealous fan of all: Its pitch worked, and the country got UNESCO to list Mongolian throat singing under China’s name. Sitting in a dingy Soviet-style apartment, the 63-year-old teacher showed photographs of himself in happier times with his pupils in China and fumed at the betrayal: “I don’t like people lying and claiming something that everyone knows is Mongolian.” A listing by UNESCO doesn’t bring any money or copyright privileges, but it does confer bragging rights — and it helps China reinforce cultural claims viewed as essential to holding together a vast territory populated on the fringes by ethnic minorities of often uncertain loyalties. That includes a population of ethnic Mongolians, most of them in the Chinese region of Inner Mongolia, which was hit by a wave of unrest in May and further protests in June fed by resentment against the area’s majority Han Chinese. By claiming — and also controlling — culture, the Communist Party has sought to keep such tensions in check, not only in normally placid Inner Mongolia, but also in far more protest-prone regions such as Tibet and Muslim Xinjiang. “Throat singing is part of China’s splendid general culture because Mongolians are one of China’s ethnic groups,” said Li Qiang, director of Inner Mongolia’s Song and Dance Academy, the institution where Odsuren taught. Arguments over who actually developed throat singing and where, he added, aren’t important because what matters today is who can best protect the art: “Right now, we are strong and capable enough to do that.”

http://www.mad-mongolia.com/news/mongolia-news/a-showdown-over-traditional-throat-singing-divides-china-and-mongolia-6269/

Source : The Washington Post

FOLK MUSIC AND TRADITIONAL ETHNIC MUSIC IN CHINA

2012-01-07T05:06:00.000-08:00

FOLK MUSIC AND TRADITIONAL ETHNIC MUSIC IN CHINA

Naxi Classical Music Orchestra
Many minorities have their own music. Tibet, for example, has its own traditional secular and religious music. Traditional Tibetan instruments used in religious music include bamboo flutes, human thighbone flutes, conch shells, cymbals, hand drums, bells, oboe-like flageolets, conch shell trumpets, and drums made for two skull halves placed back to back.
Mongolian Khoomi singers are men who appear to produce two notes simultaneously. One sound is like the metallic warbling of a juice harp, the other sound is like a moaning growl. Also known as overtone singing or throat singing the sounds are made by carefully controlling the larynx, mouth and abdominal muscles. Some of the songs are meant imitate the noises made by sheep and goats.
See Minorities
Ethnic musicians suffered in the Mao period. One singer in Inner Mongolia had his instruments and recordings smashed by Red Guards during the Cultural Revolution and was imprisoned for 11 years because he sang longingly about mountains in Mongolia rather than ones n China.
Xibei Feng (northwest wind) is an interesting style of folk music from northwest China, with a slightly reggae-like beat. The soundtrack from The Yellow Earth and Red Sorghum features xibei feng.
Traditional music played by ordinary people is said to be most alive in the Hu Jia Ta region of Shaanxi Province, a cradle of Han culture. An old farmer named Li Sheng Cal, who sings to the accompaniment of the erhu, is said to be particularly good. There is a group in Gansu that traces its root back five generations to the Ming dynasty.

Communist-Party-Endorsed Ethnic Music in China

Popular Miao singer Jonathan Kaiman and Andrew Jacobs wrote in the New York Times, “At the forefront of state-sponsored minority representation are the “song and dance troupes” that appear regularly on television. These shows portray minorities as exotic and unthreatening —with bright clothes and wide smiles and who are fanatical about singing and dancing. Many disparate minority groups often perform on stage together to symbolize ethnic harmony. Songs are often performed in Mandarin.” [Source: Jonathan Kaiman and Andrew Jacobs , New York Times July 16, 2011]
The lyrics are frequently apolitical paeans to the rugged allure of China’s borderlands. In 2009, the Mongolian singer Wulan Tuoya had a major hit with the crisp, karaoke-friendly “I Want to Go to Tibet.” The song’s music video looks like a public relations campaign for Tibetan tourism, juxtaposing government-financed group dances with video clips of the Beijing-Lhasa express train.
The status quo poses a challenge to those who wish to perform traditional songs as they are, with lyrics often describing less salubrious aspects of minority life. “About 80 percent of my songs are about hardship,” said Aojie a Ge, a Beijing-based musician from the Yi minority of southwest China. “But can I perform these songs? Of course not. I still need to survive.” Many such programs are political in nature: Mr. Aojie recently returned from a week in Yunnan Province, where he helped local entrepreneurs develop a program promoting patriotic songs.
While Mr. Aojie enjoys the stability and prestige associated with his position, he is aware of the artistic limits imposed by the authorities. The government, for example, ultimately decides where he can perform, as well as the language of his songs. “Of course, I have objections,” Mr. Aojie said. “In other countries, you can raise them. Here, you can’t.”

Naxi Classical Music Orchestra

The Naxi Classical Music Orchestra still plays 1,000-year-old music from the Tang and Song dynasties in Lijiang in the Yunnan Province. During the Cultural Revolution, members of the orchestra buried their instruments to keep them from being destroyed by the Red Guards.
The group was founded by Xian Ke, a musician who spent 21 years it prison for his love of Western classical music. He launched the orchestra when he was released from prison in 1978. Many of the musicians had also spent time in prison.
Describing the music, Maggie Farely wrote in the Los Angeles Times, "The sound is rich and resonant, an interplay of a high-pitched bamboo flute with an array of chiming gongs, stringed instruments that are bowed or plucked, even an old Persian lute that...is now only used in Naxi music.
Many of the musicians are in their 80s and few young people are learning the music even though a school has been launched. There is a danger that music will die when the musicians die.

Su Yang and Folk Songs from Ningxia

Jiang Wanjuan wrote in the Global Times: “Though he's been hailed as the best folk-rock musician in China, Su Yang prefers to simply introduce himself as a man from Ningxia, a husband, and the father of a teenage son. The 42-year-old singer/songwriter’s debut album, Xian Liang (Able and Virtuous), released in 2006, was a big hit in the folk-rock world in China and remains popular and influential. The tunes of the album were mostly adapted from the folksongs of the Ningxia Hui Autonomous Region, where Su grew up. His second album Xiang Cao Yi Yang (Like The Grass) was released in 2010. [Source: Jiang Wanjuan, Global Times, December 17, 2010]
At first, he was worried that his tunes might be too old-fashioned for modern people, but to his surprise, the melodies not only touched people in his hometown but also countless others from elsewhere in China. Su attributed the success to the instinctive power of the music. "If my first album helped build my image as a folk singer, then my new album gave me a chance to present folk lovers with a better production of my music," said Su in a recent interview with the Global Times.

Su has taken his time with Like The Grass, three years in the making. He explained that collecting the old tunes from communities and giving them a new life that can be accepted by modern people is no easy job. His mission to stir people's memories and revive the disappearing folk tunes means he had to travel to a lot of places to find and study from people who could still remember and sing them.
Su said that most local people now only remember the tunes but not the lyrics, so he sometimes had to complete the words by himself. He works only in local dialect, as in his eyes, language is key to folk songs. "Every community has its own language. It may not be widespread, but it must be the most sensitive and influential one to the people living there. When you sing in your own original language, the power is the strongest." When collecting local tunes, Su also noticed that people's life in rural areas have dramatically changed, so he decided to adapt the traditional tunes, mostly from Northwest China, with lyrics that reflect their new life
Also, as a pioneer of rock music in Ningxia, Su presents it to a larger audience group with modern instruments, although careful listeners can still find the sound of traditional Chinese instruments such as the suona (reed oboe) and banhu (coconut banjo) in his music. The lead single of Like The Grass mixes the sound of suona and percussion. According to Su, it is a general description of people's lives in the rural areas of Northwest China, where they are born, live, and die quietly, just like the grass.
Compared with the last album, Su says Like The Grass is closer to people's real lives in rural areas, which is shown thorough details like a husband and wife's quarrel and the sound of village gossip. "In the new album, I want to show people the changing villages and small towns and the new lifestyle there, instead of the old image stuck in people's mind." He said. The song "Ballad of A Couple" in the new album features the complaint of a countryside woman, who wants to divorce her old-fashioned husband for the more glamorous life that her neighbors seem to have, but later changes her mind after hearing the village officer's reasoning.
In his his hometown of Yinchuan Su did not see a car until he was six. He lived there for over three decades, and was a street vendor, cable repairman, and construction worker before he became a full-time musician. He did not receive professional music training but taught himself many music instruments. When he was studying in a vocational school when he was 18, he happened to hear a student playing guitar in another dorm. He was fascinated and traded that month's 20 yuan ($3.01) in food coupons for the instrument that started his music journey.
Later, he also formed a rock band with some local friends, but felt his music was somewhat directionless until he was inspired by African folk music and decided to adapt Chinese folk songs. "In 2002, my friend gave me a CD and I was deeply touched by the tribal tunes. Although I didn't understand the lyrics, I felt it was similar to the folk songs in Northwest China, " he said.
Like his debut album, Like The Grass will also provide elegant and close English translation of each song, as Su is aware of his expat followers. Influenced by Western musicians such as Dire Straits, Queen and Scorpions, Su said he always wonders if it would be better if he could understand the lyrics. "I don't understand English, but I can feel the emotion and rhyme of the English songs, but if I can understand the lyrics and details, I think I will enjoy it more."

Mongolian Throat Singing

Andrew Higgins wrote in the Washington Post, “Mongolian throat singing — a fiendishly difficult practice that musicologists know as overtone singing — has often attracted interest, sometimes covetous, from outside Mongolia. The Russian region of Tuva, which borders Mongolia, tried briefly in the 1990s to brand it as Tuvan and impose a licensing system on throat singers. [Source: Andrew Higgins, Washington Post, August 10, 2011]
Frank Zappa, the late American musician, jammed with a throat-rock ensemble called Huun-Huur-Tu, and folk music aficionados around the world have long marveled at how a good throat singer can produce two or more distinct pitches simultaneously in an otherworldly mix of melody and tone.
Throat singing is generally accepted to have originated in the west of what is now Mongolia. It is thought to have originated among herders mimicking the sounds of animals, water and the wind. The practice developed alongside animist beliefs that all natural objects have souls or spirits whose power humans can harness through mimicry.
Throat singing was spread by the explosive conquests of Genghis Khan and his descendants, one of whom, Kublai Khan, took control of China in 1271. Mongolia, which later fell under China’s sway, became an independent state in 1921, but, with a population of only 2.8 million today, it is deeply wary of its 1.3-billion-strong neighbor and longtime rival to the south.

Mongolians Teach Throat Singing to Chinese

Andrew Higgins wrote in the Washington Post, “ For nearly two decades, Odsuren Baatar, a master of Mongolian throat singing, has been visiting China to teach his craft — making the human voice soar, quiver and drone, its pitches in eerie unison like a bagpipe.” [Source: Andrew Higgins, Washington Post, August 10, 2011]
“When he first started going there, his students were all beginners, because nobody in China knew much about throat singing. But they were eager to learn, and, after years of sharing his techniques, Odsuren took pride in having helped promote an art form prized here in Mongolia as a singular national treasure.”
“His pride, however, turned to dismay and then anger when he saw a copy of a video that China had submitted to United Nations Educational, Scientific and Cultural Organization (UNESCO): It featured one of his former students pitching a bid by Beijing to have throat singing registered by the United Nations as part of the “intangible cultural heritage of humanity,” with China getting the credit.
“I was in shock. I taught them and then they say it is theirs,” Odsuren said.Sitting in a dingy Soviet-style apartment, the 63-year-old teacher showed photographs of himself in happier times with his pupils in China and fumed at the betrayal: “I don’t like people lying and claiming something that everyone knows is Mongolian.”

Chinese Get Mongolian Teach Throat Singing Named as a Chinese UNESCO Intangible Cultural Heritage Asset

The China quietly applied to the United Nations Educational, Scientific and Cultural Organization (UNESCO) to have throat singing registered by the United Nations as part of the “intangible cultural heritage of humanity,” with China getting the credit. The pitch worked. UNESCO listed Mongolian throat singing under China’s name. [Source: Andrew Higgins, Washington Post, August 10, 2011]
Andrew Higgins wrote in the Washington Post, “A listing by UNESCO doesn’t bring any money or copyright privileges, but it does confer bragging rights — and it helps China reinforce cultural claims viewed as essential to holding together a vast territory populated on the fringes by ethnic minorities of often uncertain loyalties. That includes a population of ethnic Mongolians, most of them in the Chinese region of Inner Mongolia, which was hit by a wave of unrest in May 2011 and further protests in June fed by resentment against the area’s majority Han Chinese... By claiming — and controlling — culture, the Communist Party has sought to keep such tensions in check, not only in normally placid Inner Mongolia, but also in far more protest-prone regions such as Tibet and Muslim Xinjiang.”
“Throat singing is part of China’s splendid general culture because Mongolians are one of China’s ethnic groups,” Li Qiang told the Washington Post. He is the director of Inner Mongolia’s Song and Dance Academy, the institution where Odsuren taught. Arguments over who actually developed throat singing and where, Li added, aren’t important because what matters today is who can best protect the art: “Right now, we are strong and capable enough to do that.”

Fight Over Whether Throat Singing Should be a Chinese UNESCO Intangible Cultural Heritage Asset

throat singing duet Andrew Higgins wrote in the Washington Post, “When news of UNESCO’s decision to endorse China’s claim reached Ulaanbaatar, the Mongolian capital, Odsuren was pilloried in the local media for selling out Mongolian culture. China’s UNESCO video included not only his former pupil — who declined to comment — but also footage of Odsuren during one of his visits to Inner Mongolia. “I suffered for a whole year. There was a lot of commotion here about how I sold throat singing to the Chinese,” Odsuren said. [Source: Andrew Higgins, Washington Post, August 10, 2011]
“I was very surprised to find the Chinese khoomei (throat singing) nomination,” said Mark van Tongeren, a Dutch musicologist who served as an expert on a UNESCO review panel. “For me, it seemed obvious this was a tricky one.” Li, the Song and Dance Academy director, denied any attempt by China to annex Mongolia’s heritage, insisting that Inner Mongolia had its own throat singers long before Odsuren started teaching in China. “We prepared well, and we showed enough evidence (to UNESCO). No wonder we got it.”
Odsuren acknowledged that the area that is now Chinese Inner Mongolia did have throat singers in the distant past but said the art died out there long ago, a claim supported by China’s official Xinhua News Agency, which reported in 2006 that throat singing “was lost more than 100 years ago” in China. Odsuren thinks this should have made China ineligible for a UNESCO listing because the tradition was not “transmitted from generation to generation” as required by the 2003 convention.
Li, for his part, said that although it looks “on the surface” that throat singing had vanished in China, and “we thought so at first,” it had in fact survived among Chinese nomads. Under Mao Zedong, who ruled China from 1949 until his death in 1976, the Communist Party took a dim view of “minority” cultures. It still frowns on cultural activities it doesn’t control, but is now eager to develop — and lay claim to — songs, dances and other art forms that it hopes will help cement the loyalties of Mongolians and other minorities.
The furor calmed after Mongolia submitted its own entry for throat singing and, in November, secured a spot on UNESCO’s list. The register now has two throat singing entries, one for China, one for Mongolia. Odsuren said he’s over his anger and doesn’t bear any grudge toward Chinese Mongolians who now claim for China an art that he taught them.

UNESCO and a Culture Grab by China?

Mamer Andrew Higgins wrote in the Washington Post, “ In 2009 and 2010, more than a quarter of all items inscribed by Paris-based UNESCO on its cultural heritage roster were from China. Many of the items under China’s name are clearly Chinese, such as Peking Opera, acupuncture, dragon boat festivals and Chinese calligraphy. But also listed as Chinese are the epic of Manas, a poem that Kyrgyzstan considers the cornerstone of its national culture, as well as Tibetan Opera, and a Korean farmers dance. [Source: Andrew Higgins, Washington Post, August 10, 2011]
Cecile Duvelle, head of UNESCO’s intangible cultural heritage section, said in response to written questions by the Washington Post that a listing does not mean an item “belongs to the state” or that China’s cultural heritage “has more or less value,” but she added that the organization “is nevertheless discussing this unbalanced situation.”
Exactly which “practices, expressions, knowledge and skills” are put on UNESCO’s list gets decided by a U.N. committee made up of officials from 24 member states. And no country has been more active than China in nominating entries — to the chagrin of Mongolians, Kyrgyz, Tibetans and others whose culture is in part now registered as being from China.
When the United Nations first adopted a Convention for the Safeguarding of Intangible Cultural Heritage in 2003, the idea was to promote diversity and help indigenous peoples protect their heritage. Higgins wrote, “Scholars with no dog in the fight also have been taken aback by a system they complain is driven by bureaucratic process and power politics as much as concerns for cultural authenticity.”
See Yang Yi, Pop Music

Alternative Ethnic Music Scene in China

A growing roster of alternative performance sites and music festivals has allowed Chinese ethnic minority musicians to enjoy an unusual degree of financial security and cultural prominence. But in China, where the central government maintains a firm grip on popular media and cultural events, minority musicians walk a fine line: play it safe and they may lose their audience; go too far and they may lose their stage. [Source: Jonathan Kaiman and Andrew Jacobs , New York Times July 16, 2011]
Alternative ethnic artists include Mamer, an experimental musician from the Kazakh border region of China who plays a long-necked lute, and Zhang Quan, a folk singer from the arid northwestern plains. Jonathan Kaiman and Andrew Jacobs wrote in the New York Times, " Aojie a Ge, the Beijing-based musician from the Yi minority described above, rose to national fame in the late 1990s with the pop trio Mountain Eagle. Although he grew up in the Liangshan Prefecture of Sichuan Province, one of the country’s poorest regions, he has largely assimilated to city life. He wears shoulder-length dreadlocks and designer jeans. His celebrity has earned him a prestigious job directing programs for a performance group affiliated with the All China Federation of Trade Unions, a government institution."

Mongolian Rock Band Hanggai

Hanggai drinking song The Mongolian rock band Hanggai has toured Europe, played alongside big name acts like the band Coldplay and earned plaudits in the international press. But here in China, the growing popularity of the Mongolian rock band Hanggai has not exactly inspired adulation from the authorities. A festival organized by the band in the suburbs of Beijing, according to the New York Times, attracted “a swarm of state security officers who monitor the crowd with suspicion, impatience and a hint of curiosity.” [Source: Jonathan Kaiman and Andrew Jacobs , New York Times July 16, 2011]
Jonathan Kaiman and Andrew Jacobs wrote in the New York Times, “Last month, a few hundred foreigners and young Chinese packed a popular bar to see Hanggai play a final set in Beijing before embarking on a national tour. Projectors washed the stage with glimpses of lush grass hills, blue skies and galloping horse —a subtle reminder of what many Mongolians say is being destroyed by a coal boom orchestrated by Han mining companies.”
“After each song, fans from the band members’ hometowns in the Inner Mongolia Autonomous Region climbed on stage to present multicolored silk scarves to the band, a traditional gesture of respect. When Huricha, one of the band’s vocalists, growled, “We will bring you to the grasslands,” the audience burst into applause.
But such flourishes of ethnic pride are counterbalanced by moments of uncertainty. At a Hanggai show in Shanghai the following week, one night after Shanren played on the same stage to a sold-out crowd, the police stopped the show after the opening act, saying there had been complaints about the noise. The band was disappointed but forbearing. “They don’t need to control everything the way they do,” Ilchi, the band’s leader, said later. “Rock concerts are very safe. It’s only music after all.”

Mongolian Punk Folk Singer and Hanggai

Ilchi is a Mongolian throat singer capable of producing two sounds at the same time. For a time he was the leader of the punk band T9, which raged in profanity-laden songs about the frustration of modern life. Now he is a leader of of a folk-music revival and is experimenting with merging throat singing and different musical styles. He told NPR,”‘I felt we modern people need to understand more about our past.” [Source: NPR, Morning Edition, November 10, 2008]
“lchi was born in Inner Mongolia but he moved with his family to Beijing at the age of 12. In 2005, on a journey of musical self-exploration, he returned to Inner Mongolia. There, he learned the traditional art of throat singing, and searched for old folk songs in danger of being lost. He started to write his own music for his band Hanggai, including a song about his tobshuur, a two-stringed Mongolian banjo. “This song is about my beloved banjo, which follows my emotions,” Ilchi said, ‘It's like a horse, which knows which way you want to go on the grasslands. I want to devote my life, and my banjo, to celebrate the beauty of my beloved Mongolian soil and my old home.” [Ibid]
“With the beat evoking horse hooves thundering over the grasslands, Hanggai's music hearkens back to the nomad's way of life. That's disappearing quickly with rapid urbanization and modernization, and as desertification encroaches upon the once-massive grasslands. The music critic for the China Daily, Mu Qian, has been following Ilchi's musical odyssey. ‘He's trying to find back his cultural identity,’ Qian says. ‘It's becoming more and more difficult to do so, because traditions are disappearing. It's the same everywhere in the world, but probably especially so in China, because China is changing very fast.’” [Ibid]

“What makes Hanggai stand out is its Mongolian roots, and the fact that its members sing in Mongolian, which treads into politically sensitive territory.Nowadays, less than 20 percent of the population of Inner Mongolia is Mongolian; most are Han Chinese. And Ilchi doesn't shy away from explaining the ways that that Chinese influence has changed life. ‘Most of our people have moved away from the old way of life,’ Ilchi says. ‘After moving to the cities, many of us have gradually been subjected to a very strong cultural invasion by an oppressive culture. So this traditional music has completely lost its space.’” [Ibid]
“Some of Hanggai's songs demonstrate just how fragile that culture is. One is sung in the Mongolian equivalent of Chaucerian English, a dialect so ancient even the singer who taught the band the words couldn't remember what they meant. Ilchi's musical explorations also expose the contradictions involved in rediscovering cultural identity in modern China: He's an ethnic Mongolian who had to relearn the language to sing in it, and he's singing about a fast-disappearing way of life he's never really lived himself. Even so, Robin Haller, who co-produced the band's debut album, says he fell in love with Hanggai's honesty.” [Ibid]
Hanggai's new album ends with its party piece, The Drinking Song . In order to gain the proper alcohol-sozzled atmosphere, part of the recording was made after the band had been on a pub crawl. “Alcohol in a bottle is very docile, like a little sheep,’ Ilchi says. “But in your stomach, it's like a tiger.”

Shanren

Shanren—meaning “Mountain People”—is known for its eclectic style —songs move fluidly from electronica to reggae to metal —and arrangements inspired by traditional music from the country’s ethnically diverse southwest, a mélange of loose falsetto harmonies and twangy pentatonic lutes. [Source: Jonathan Kaiman and Andrew Jacobs , New York Times July 16, 2011]
Jonathan Kaiman and Andrew Jacobs wrote in the New York Times, “Growing up in a poor and mountainous village in southwest Guizhou Province, Xiao Budian, the band’s lead multi-instrumentalist, said a music career was beyond his imagination. The son of a cow herder and member of the tiny Buyi minority, Mr. Xiao left home on his 19th birthday, spending his high school tuition fees on a one-way train ticket to Beijing. “I wanted to see what was on the other side of the mountain,” he said.
Mr. Xiao initially lived with his older brother, a rock musician who had amassed a collection of foreign music and movies during his years in the capital. One day, Mr. Xiao heard Bob Dylan singing “Blowin’ in the Wind” in a documentary about World War II. “It was so simple, just a voice, a guitar and a harmonica,” he said. “But its power was tremendous. It was like an atom bomb.”
From their vantage point outside government channels, Shanren can breach subjects off limits to musicians like Mr. Aojie. For example, “30 Years” is a Shanren song based on a Yi folk tune. Qu Zihan, the band’s frontman, changed the lyrics to reflect the difficulty of finding good work and love in the big city. “Even though we have rebellious things in our music, they’re really not so obvious,” Mr. Qu said. “We just want to approach things from a different angle, to make people think.”
Image Sources: YouTube UNESCO (Naxi orchestra)
Text Sources: New York Times, Washington Post, Los Angeles Times, Times of London, National Geographic, The New Yorker, Time, Newsweek, Reuters, AP, Lonely Planet Guides, Compton’s Encyclopedia and various books and other publications.

Page Top

Mongolian Throat Singers Take the Stage

2012-01-07T05:03:00.001-08:00

Mongolian Throat Singers Take the Stage

By Benjamin Soloway, Features Editor

Thursday, September 29, 2011

Dan Goldman/Contributing Photographer

Last Friday, Inner Mongolia’s AnDa Union played a vigorous fusion of songs from various steppe traditions for a full house at Crowell Concert Hall. They succeeded in tearing the roof off the building.
AnDa Union, a tight-knit group of ten musicians, has a mission: to preserve and breathe new life into traditional Mongolian music, which has survived, like the rest of Mongolian culture, for thousands of years through the oral traditions of the nomadic peoples who now occupy Mongolia (Outer Mongolia), Inner Mongolia (a massive province in northern China), and Tuva (a region of Russia).
on stage and relaying their musical influences to foreign audiences.” Genghis Khan’s grandson Kublai, by the year 1260 BCE—just two generations after his grandfather first united the tribes of the steppe—ruled over an empire that reached from the east coast of China to the gates of Vienna. Today, Mongolian culture lives on in Mongolia, China, Russia, and in immigrant communities across Europe. If groups like AnDa Union continue to make music, the culture will live for another thousand years still.
In Mongolian, “Anda” means “blood brother or sister.” According to the group’s official profile, “Anda is more important than a birth brother as you choose a person to become anda, a life-long blood brother. AnDa Union is a brotherhood of Andas.”
Traditional Mongolian music is based on a unique vocal capability: throat singing, or “khoomii”—a form of guttural chant, the practitioners of which are able to produce simultaneously as many as four distinct vocal tones through the manipulation of resonances. Nearly impossible for most people to learn, the sound is otherworldly and enthralling.
The Union members’ English is close to nonexistent, but the music spoke for itself. The band is a non-western chamber orchestra of sorts, but their instruments (morin huur, or “horse-head fiddle”—a sonorous two-string instrument that sounds like a cross between a viola and cello—along with other two-string instruments, drums, a percussion instrument made out of vertebrae, and a reed flute) take a back seat to the singing, which is the heart of the music.
The band’s dynamic sound had the audience enthralled, if a room full of stunned, open mouths is any indication. The final song, “Galloping Horses,” evoked a frenzied stampede that sent concertgoers stumbling, crazed and uplifted, out into the night.
Horses are central to Mongolian grassland culture. So is Genghis Khan (or “Chinggis,” if you want to speak correctly, according to the band’s profile). And the songs had plenty of room for the Great Kahn and the beasts that bore his armies. But there was also room for love, loss, and everyday storytelling—not that I could understand any of it.
On Saturday morning, the band held a small throat singing workshop in the World Music Hall. A few students came close to producing the distinctive sounds. All I did was hurt my throat.
After the Union had left town for a show in Boston, I caught up with Andrew Colwell, a graduate student studying Mongolian throat singing in the ethnomusicology department.
“I think it’s really important to promote a more complete understanding of what Mongolian music is, or what music from another culture is,” he said. “And that ties into a general need for better intercultural understanding across the board.”
Colwell lived in Mongolia for several years, teaching English and learning to throat sing. He enjoyed the concert, partially because it presented an opportunity to speak Mongolian again.
“[AnDa Union is] damn good,” he said. “They’re very attuned to being on stage and relaying their musical influences to foreign audiences.”
Genghis Khan’s grandson Kublai, by the year 1260 BCE—just two generations after his grandfather first united the tribes of the steppe—ruled over an empire that reached from the east coast of China to the gates of Vienna. Today, Mongolian culture lives on in Mongolia, China, Russia, and in immigrant communities across Europe. If groups like AnDa Union continue to make music, the culture will live for another thousand years still.
http://wesleyanargus.com/2011/09/29/straight-outta-inner-mongolia-throat-singers-take-the-stage/

TUVA国的呼麦王，很早用呼麦震惊西方世界的一个人

2012-01-06T12:19:00.000-08:00

13 mai 2011

Master Kongar-ol Ondar

2012-01-06T12:17:00.000-08:00

Master Kongar-ol Ondar

10 août 2011

Bela Fleck and Flecktones - Ah Sho Dekio (with Kongar-ol Ondar)

2012-01-06T12:15:00.000-08:00

10 oct. 2010

last but funniest...

‪Paul Pena from the movie Genghis Blues - Good Horses‬‏

2012-01-06T12:14:00.000-08:00

10 août 2011

Kongar-Ol Ondar - Tuva Groove

2012-01-06T12:12:00.001-08:00

21 sept. 2011

Kongar-Ol Ondar - Tuva Groove

Kongar-ol Ondar - Big River

2012-01-06T12:11:00.000-08:00

21 mai 2011

Kongar-ol Ondar - Back Tuva Future -- The Adventure Continues

Виталий Розенберг - продюсер феста народов Востока

2012-01-06T12:09:00.000-08:00

9 nov. 2010

Виталий Розенберг - продюсер фестиваля горлового пения в Кремле. Фрагмент фестиваля - выступает выдающийся мастер горлового пения Конгар-Оол Ондар.

Chirgilchin Master Throat Singers From Tuva

2012-01-05T01:33:00.000-08:00

Chirgilchin Master Throat Singers From Tuva

23 mars 2010 Produced by
Pure Natural Music
Alexander Bappa
www.purenaturalmusic.com

Chirgilchin
www.chirgilchin.com
Singing the ancient folk songs in the Tuvan Language, from Central Asia while playing beautiful hand-made, traditional instruments, Chirgilchin is the cream of the crop of today's younger generation of throat singers.

Okna Tsahan ,Karuyev-Eedjin dun, Mongol kardes 2

2012-01-05T01:26:00.000-08:00

16 févr. 2010

Turan ,xalg muzik ,Mongolian muzik ,Turk muzik, mongol saz ,mongol gopuz.Turkish music Mongolian dialect

Okna Tsahan Zam - Edjin Duun

2012-01-05T01:23:00.000-08:00

23 mars 2009

Okna Tsahan Zam - Edjin Duun

I spent 11 years of my life in Mongolia and this song is linked with so many memories :) didnt find it in youtube yet so i thought id load it up =) hf

To download this song in HQ, follow the link:
http://rapidshare.com/files/321824884/OTZ_ED.rar
Password is "mongolia"

O Tsahan Zam Pt II

2012-01-05T01:21:00.000-08:00

7 sept. 2007

Throat singing explained to a confused, simple Englishman. Wonderful

Okna Tsahan Mongol Kardes 1

2012-01-05T01:20:00.000-08:00

16 févr. 2010

Turan ,xalg muzik ,Mongolian muzik ,Turk muzik, mongol saz ,mongol gopuz.Turkish music Mongolian dialect,mongol turkcesi

Khöömii

2012-01-05T01:13:00.000-08:00

23 sept. 2010

Mongolian throat singing. I got to experience this on a trip to Hohhot, Inner Mongola, China. Saturday 4 September 2010.

ホーミー＠モンゴル

2012-01-05T01:06:00.000-08:00

13 sept. 2008

よーく耳を澄ませてください。

アランズ・バトオチルさんのホーミー

2012-01-05T01:03:00.001-08:00

9 déc. 2009

弾いているのは馬頭琴そして、歌っているのはモンゴルの倍音唱法ホーミーです。生で聴くともっと感動します。(*_*) 歌ってくださっているのはアランズ・バトオチルさん。馬頭琴演奏で第一位の方です。ホーミーとは、２つの音あるいは３つの音を同時に発生する歌唱法です。詩吟の先生がとても感動していらっしゃいました。

ボルド－エルデネ　練習風景　馬頭琴を伴奏に使っています

2012-01-04T12:49:00.000-08:00

10 avril 2010

ボルド－エルデネの練習風景at事務所＾＾

二つ声が出ているのがお分かりでしょうか？？
一つは低くうなるような声、もう一つは口笛のような高い声。

テンゲルに泊まると毎日聞けますよ～
http://www.tenger.jp/

【ボルド－エルデネ　プロフィール】

今はモンゴリアビレッジテンゲルの専属音楽家として活動中だが、モンゴル国では国立民族歌舞団でプロのホーミー歌手として活躍している。
第一回モンゴル国ホーミーコンクールで優勝したこともある実力者。

ウイグル自治区から来たオイラト族バッチャさんの喉歌ホーミー1

2012-01-04T12:45:00.000-08:00

7 sept. 2008

9/6仙台のあべひげにおいてウイグル自治区から文化交流の目的で来日した、オイラト族の喉歌(ホーミー)、バッチャさんのライヴ。独特の発声法は、文化遺産となっているそうです。

小久保陽平のホーミー演奏④ルパン三世のテーマ

2012-01-04T12:42:00.001-08:00

11 mai 2010

一人で二つの声を発するモンゴルに伝わる喉歌、ホーミーを用いて、小久保陽平がアニメソング屈指の名曲を演奏している動画です。

ホーミー

2012-01-04T12:41:00.000-08:00

31 janv. 2009

モンゴルで泊まっていたパオの村にやってきたホーミーを演奏する一座です。

モンゴル唄・演奏「ホスクットン・モンゴル」

2012-01-04T12:40:00.000-08:00

28 nov. 2010

2010年11月24日に行われたNGOゆいまーるハミングバーズ主催「太陽のコンサート2010」の演目です。
モンゴル児童保護施設「太陽の子どもたち」からすばらしい子供達が13人来日してのコンサートです。

モンゴルホーミー演奏

2012-01-04T12:38:00.000-08:00

27 nov. 2010

モンゴル　ホーミー「チンギス・ハーン」

2012-01-04T05:15:00.000-08:00

3 mars 2010

2005年にモンゴルのウランバートルにホーミーを習いに行ったときに撮影しました。

TUVA Khoomei - Tuvan Throat Singing

2012-01-04T04:44:00.000-08:00

4 mars 2010

http://www.discoverysound.com/en/DFSD670/
KHOOMEI - A present from the magnificent ground TUVA

From the Asian republic of TUVA, the amazing style of overtone singing has finally been properly captured as a mystical and marvelous sample library, along with the traditional Tuvan stringed instruments ‹Igil› and ‹Doshpuluur›.

In the Republic of TUVA, the mountain basin is populated with lakes and rivers. The inspiring landscape is home to the powerful and beautiful voices of ‹Khoomei›.

A long-awaited ‹Khoomei› samples have finally arrived, encompassing 154 files in ACID|WAV and REX2 formats.

This collection features samples of ‹Khoomei› , male and female throat singers, and two types of stringed instruments: ‹Doshpuluur› and ‹Igil›. All sound files are presented in both 44.1 kHz/16-bit and 96 kHz/24-bit formats.

Tuvan Sounds on the disc:

KHOOMEI :
A type of throat singing with a distinct fundamental and an overtone melody, used in folk music from Tuva.

DOSHPULUUR :
A three-stringed instrument with fretless similar to a banjo, but with the warm, organic sound of wood and goat skin.

IGIL :
A two-stringed, bowed and fretless instrument. Deeply connected with the mythology of the horse, the most important animal in Tuvan culture. The Igil sounds like a cross between violin and cello, and is often used to imitate the sound and rhythms of the horse.

The Republic of TUVA:

It is a member of the Russian Federation, located in the Tannu Mountains on the Siberian border in northwestern Mongolia. The capital is Kyzyl. The population of 308,000 lives in the area of 170,500 square kilometers. The area is a mountain basin with numerous lakes and rivers. Many of Tuvans are still cattle-breeding nomads.

Sound Files
44.1kHz/16-bit | 96kHz/24-bit formats
ACID WAV [115 files]

Doshpuluur:
Loops [32 files]
Oneshot Phrases [3 files]

Igil:
Loops [7 files]
Oneshot Phrases [3 files]

Vox: Male:
Type-A Loops [21 files]
Type-B Loops [20 files]
Type-C Loops [4 files]
Type-D Loops [7 files]

Vox: Female:
Loops [18 files] REX2 [39 files]

Doshpuluur:
Loops [32 files]

Igil:
Loops [7 files]

モンゴル国ホーミーコンクール優勝　Mongol Khoomei-MusicQlip

2012-01-04T03:46:00.000-08:00

25 juil. 2009

http://blog.tenger.jp/?eid=991480第一回モンゴル国ホーミーコンクール優勝のボルドエルデネさんがモンゴル国で制作したミュージッククリップです。お問い合わせはこちら→http://blog.tenger.jp/?eid=991480

the diva and the emcee

2012-01-04T03:21:00.000-08:00

2 juin 2010

real-time MRI of vocal performance, with examples from an opera soprano, and an emcee/beatboxer. Presented at the ISMRM Sounds and Visions Session, May 2006, Seattle.

Overtones and Intervals by Bernd Michael Sommer

2012-01-04T03:15:00.000-08:00

11 mai 2008

Overtone singing. You learn to sing a part of the overtone series with your normal voice. This helps you to identify the overtones in the overtone series. Featuring the overtone analyzer software by Bodo Maas and Wolfgang Saus.

Writing "MINIMUM" with the voice - Tran Quang Hai

2012-01-04T03:13:00.000-08:00

12 févr. 2009

Tran Quang Hai ( http://tranquanghai.info ) shows different ways of writing the word MINIMUM on the screen, using the software Overtone Analyzer ( http://www.sygyt.com ).

Tran Quang Hai writes words MINIMUM & I WILL WIN with overtones

2012-01-04T03:08:00.000-08:00

8 févr. 2009

Tran Quang Hai writes MINIMUM and I WILL WIN with overtones . You can see them on the screen of the computer thanks to the software OVERTONE ANALYZER (invented by Bodo Maass and Wolfgang Saus from Germany - contact: http://sygyt.com)
Filmed in Limeil Brevannes, Monday 09 february 2009

TRẦN QUANG HẢI giải thích hát đồng song thanh bằng tiếng Việt

2012-01-04T03:06:00.000-08:00

26 sept. 2009

Trần Quang Hải giải thích cách hát đồng song thanh qua sự hỗ trợ của máy đo bồi âm (Overtone Analyzer) do Bodö Maass sáng chế rra . Sau đó dẫn chứng với bài dân ca Việt Nam "Cò lả" và bài "the Ode to Joy" (trích Giao hưởng số 9 của Ludwig Van Beethoven.

Thu hình ngày 26 tháng 9, 2009 tại Limeil Brévannes, Pháp

Different possibilities to write words with voice

2012-01-04T03:03:00.000-08:00

10 févr. 2009

Tran Quang Hai showed different ways of writing the word MINIMUM on the screen of the computer with the voice thanks to the software Overtone Analyzer invented by Bodo Maass and Wolfgang Saus (contact: http://sygyt.com)
Filmed in Limeil Brevannes, Tuesday 10 february 2009

TRAN QUANG HAI EXPLIQUE LES HARMONIQUES EN FRANCAIS

2012-01-04T03:02:00.000-08:00

26 sept. 2009

Tran Quang Hai donne quelques explications sur la réalisation des harmoniques grâce au logiciel "Overtone Analyzer" inventé par Bodö Maass (Allemagne).
Puis il chante Artii Sayir avec les harmoniques .
Filmé le 26 septembre 2009 à Limeil Brévannes, France

Teachings in overtone singing by Tran Quang Hai @ 6th World Choral Symposium in Minneapolis 2002

2012-01-02T09:25:00.000-08:00

Teachings in overtone singing by Tran Quang Hai @ 6th World Choral Symposium in Minneapolis 2002

http://tranquanghai.multiply.com/video/item/1234

http://tranquanghai.multiply.com/video/item/1236

http://tranquanghai.multiply.com/video/item/1237

http://tranquanghai.multiply.com/video/item/1239

http://tranquanghai.multiply.com/video/item/1240

http://tranquanghai.multiply.com/video/item/1241

http://tranquanghai.multiply.com/video/item/1242

http://tranquanghai.multiply.com/video/item/1243

Teachings in overtone singing by Tran Quang Hai @ 6th World Choral Symposium in Minneapolis 2002

Teachings in overtone singing by Tran Quang Hai @ 6th World Choral Symposium in Minneapolis 2002

Oct 28, '09 5:53 PM
for everyone

Tran Quang Hai www.tranquanghai.com demonstrates Tuvan, Mongolia, Tibetan and South African overtone singing at the 6th World Choral Symposium, Minneapolis/St. Paul, MN.

Please Click on each single video thumbnail to listen and watch all eight videos how Tran Quang Hai gave teachings, exercises and explanations in overtone singing.

Video 1.	Video 2.
Video 3.	Video 4.
Video 5.	Video 6.
Video7.	Video 8. http://overtonenetwork.multiply.com/journal/item/2

TRAN QUANG HAI 1 overtone singing 17 09 10, Kecskemet, Hungary

2012-01-02T09:19:00.000-08:00

24 sept. 2010

TRAN QUANG HAI performed at the 6th International Doromb Festival , Kecskemet, Hungary, 17 september 2010

Filmed by Jonny Cope

LE CHANT DES HARMONIQUES 2

2012-01-02T09:09:00.000-08:00

14 nov. 2008

Extrait du film "LE CHANT DES HARMONIQUES " réalisé par HUGO ZEMP, co auteurs: TRAN QUANG HAI & HUGO ZEMP, produit par CNRS Audio Visuel, 38 minutes, 1989. 2ème partie du film

LE CHANT DES HARMONIQUES 1

2012-01-02T09:06:00.000-08:00

14 nov. 2008

CHANT DE MONGOLI
蒙古呼麦

Extrait du film "LE CHANT DES HARMONIQUES" réalisé par HUGO ZEMP, avec co auteurs : TRAN QUANG HAI & HUGO ZEMP, produit par CNRS Audio Visuel, 1989, 38 minutes, 1ère partie

Tran Quang Hai & Trinh Lô Trung in an improvisation, January 1st 2012

2012-01-02T09:02:00.000-08:00

1 janv. 2012

Tran Quang Hai & Trinh Lô Trung in an improvisation, January 1st 2012

Filmed by Bach Yen, Limeil Brévannes, France

Vocal Improvization , Oreno, Italy, 9 november 2008

2011-12-30T23:09:00.000-08:00

11 nov. 2008 A few participants of the workshop of overtones conducted by Tran Quang Hai at Teatroreno, Oreno, Italy gave a short vocal improvization with the control of the software Overtone Analyzer conceived by Bodo Maass

Contact: Teatroreno
Email: info@delleali.it

Excercice "Tremolo avec un doigt", stage de chant diphonique

2011-12-30T23:07:00.000-08:00

20 oct. 2008

Stage de chant diphonique dirigé par Tran Quang Hai, à Cannes organisé par l'Association Tortue Ecarlate entre 18 et 19 octobre 2008.
Contact: association@tortueecarlate.com

Excercice avec LANG & LONG pour apprendre le chant diphonique

2011-12-30T23:05:00.000-08:00

19 oct. 2008

Exercice "Lang et Long" proposé par Tran Quang Hai au cours de son atelier "Chant diphonique" organisé par l'association Tortue Ecarlate dont le président est Gérard Bertin à Cannes (weekend du 18 et 19 octobre 2008).
contact: association@tortueecarlate.com

TRAN QUANG HAI fait la démonstration du chant diphonique, 20 11 2010

2011-12-30T23:03:00.000-08:00

21 nov. 2010

Tran Quang Hai fait la démonstration du chant diphonique dans le cadre du café concert à l'Espace Prévert, Savigny le Temple , 20 novembre 2010

Séquence filmée par Bạch Yến

Singing 7 CHAKRAS in one breath (66 seconds)

2011-12-30T00:30:00.000-08:00

1 mars 2009

Trân Quang Hai sang 7 CHAKRAS with overtones in one breath (66 seconds) controlled by the software "overtone analyzer)
Filmed in Limeil Brevannes, France
Sunday March 01, 2009

A Vietnamese melody whistled and sung with overtones

2011-12-30T00:28:00.000-08:00

18 févr. 2009

Trân Quang Hai whistled , then sung a Vietnamese melody "Xòe Thái" (Thai Dance) with overtone singing style

Filmed at Music Department, Musée de l'Homme, Wednesday 18 February 2009

Lesson proposed by TRAN QUANG HAI for learning throat singing, part 2

2011-12-30T00:25:00.000-08:00

22 févr. 2009

Trân Quang Hai proposed his exercice with double mouth cavity concerning the production of overtones .

Filmed in Limeil Brevannes, France, Sunday 22 February 2009

Lesson proposed by TRAN QUANG HAI for learning throat singing

2011-12-30T00:20:00.000-08:00

22 févr. 2009

Trân Quang Hai presented his exercice for training overtones with the technique of one mouth cavity .

Filmed in Limeil Brevannes, France, Sunday 22 February, 2009

TRAN QUANG HAI sings with the biggest number of overtones

2011-12-30T00:18:00.000-08:00

3 sept. 2008

Tran Quang Hai sings with the biggest number of overtones in a minute thanks to his own technique. This is a challenge.

TRAN QUANG HAI sings overtones, plays spoons & Jew's harp

2011-12-30T00:16:00.000-08:00

27 juin 2008

New song composed by Tran Quang Hai and performed by himself with overtones, spoons and Jew's harp

Duet of overtone singing - Bạch Yến & Trần Quang Hải

2011-12-28T00:35:00.000-08:00

23 mai 2009

AMAZING GRACE IN ONE BREATH by TRAN QUANG HAI

2011-12-28T00:33:00.000-08:00

AMAZING GRACE IN ONE BREATH by TRAN QUANG HAI

1 juin 2008

Tran Quang Hai from Viet Nam tries to sing "Amazing Grave" in one breath .

TRAN QUANG HAI sings "Scotland the Brave" with overtones

2011-12-28T00:30:00.000-08:00

26 juin 2008

TRAN QUANG HAI sings "Scotland the Brave" with overtones in one breath . This is one of his experiment how to hold the breath as long as possible. The range of overtones is from H8 to H16 in order to sing semitones

"Nếu em ngoan", by Tran Quang Hai with khoomei style

2011-12-28T00:29:00.000-08:00

1 juin 2008

Tran Quang Hai of Vietnamese origin, composed this song "Nếu em ngoan" using the overtone singing style .

Tran Quang Hai sings Oh Susannah with overtones

2011-12-28T00:23:00.000-08:00

2 juin 2008

Oh Susannah in Khoomei

La musique vocale par Tran Quang Hai

2011-12-28T00:21:00.000-08:00

7 août 2008

La musique vocale par Tran Quang Hai

Tran Quang Hai - "Omaggio a Demetrio Stratos '08"

2011-12-28T00:19:00.000-08:00

18 août 2008

TRAN QUANG HAI sings a Vietnamese Folksong with deep voice

2011-12-28T00:17:00.000-08:00

6 nov. 2008

Tran Quang Hai uses his normal deep voice to sing a Vietnamese folksong "Qua Câu Gio Bay" then afterwards he uses the undertone technique to sing the same tune. Finally, a short improvization with undertones.

TRAN QUANG HAI sings the Vietnamese folksong "CO LA" with overtones, Eiffel Tower, Paris

2011-12-28T00:13:00.000-08:00

26 déc. 2008

Tran Quang Hai sings the Vietnamese folksong "CO LA " with overtones in front of Eiffel Tower in Paris, France .

Filmed on December 26, 2008

tran quang hai sings with overtones

2011-12-28T00:11:00.000-08:00

7 oct. 2008

Tran Quang Hai sings 2 Tuvin tunes : Artyy Sayir and Caravane with overtones in Venice (ITALY),
5 october 2008

Tran Quang Hai sings the 7 CHAKRAS with overtones

2011-12-26T22:48:00.000-08:00

18 nov. 2007

How can we recognize the Chakras on the screen and at the same time hear the pitch of the Chakras . The answer is on this video performed by Tran Quang Hai. This is his experimental research

TRAN QUANG HAI sings "AMAZING GRACE" with overtones in one breath

2011-12-26T22:46:00.000-08:00

27 août 2009

Tran Quang Hai sings "AMAZING GRACE" with overtones in one breath . It is rather difficult because the tempo is slow and the performer has to control the pitch of different overtones.
Filmed by Bach Yen, Thursday August 27, 2009 in Limeil Brevannes, France

TRAN QUANG HAI sang a Mongolian folk tune with overtones, Berlin

2011-12-26T22:44:00.000-08:00

14 avril 2010

TRAN QUANG HAI sang a Mongolian Folk tune with overtones, Berlin in a shop of chocolate

Filmed by Jens Mügge, Berlin, 9 April 2010

TRAN QUANG HAI sings a Mongolian tune with overtones in Kingston, Canada

2011-12-26T22:42:00.000-08:00

12 mai 2009

Tran Quang Hai sings a Mongolian tune with overtones on the sightseeing boat during the trip visiting 1,000 islands in Kingston

Filmed on boat , May 1st 2009

Tran Quang Hai chante Hymne à la joie avec harmoniques 30.01.10

2011-12-25T14:20:00.000-08:00

31 janv. 2010

Tran Quang Hai chante Hymne à la joie avec harmoniques à la Soirée au profit des victimes de l'Agent Orange , Choisy le Roi, 30 janvier 2010

Filmé par Bạch Yến

The Ode to Joy by Tran Quang Hai with overtones at Fontaine de Vaucluse 29.11.10

2011-12-25T14:15:00.000-08:00

2 déc. 2010

The Ode to Joy by Tran Quang Hai using the overtone singing technique at Fontaine de Vaucluse

29 november 2010

Tran Quang Hai & Gérard Bertin sing the Ode to Joy

2011-12-25T14:14:00.000-08:00

20 mai 2011

Tran Quang Hai & Gérard Bertin sing "the Ode to Joy" with in one breath in front of the water fall near Salermes, France

Filmed by Anne Valérie, 20th May 2011

TRANQUANGHAI's WORLD

http://youtu.be/ZjdaGsmihKg

Natascha Nikeprelevic RECITAL for voice and tambura

Natascha's Dao of Overtone Singing

Chinggis Khaanii Magtaal - Altai Khairkhan

Female Mongolian Throat Singer

Epi mongole voix basse profonde

Mongolian chants (wild and wicked)

Chant diphonique mongol

TRAN QUANG HAI sings overtones, Paris, January 15th 2012

Duet of overtone singing - Bạch Yến & Trần Quang Hải

overtone singing, chinese Lute "Pipa" and computer music

TRAN QUANG HAI & LUCA in an IMPROVISATION

Tran Quang Hai - "Omaggio a Demetrio Stratos '08"

Collective improvisation, Italy, november 7, 2010

Tran Quang Hai & Benjamin Taubkin improvize together.

Spectrum of Tran Quang Hai 's song "Nêu em ngoan"

TRAN QUANG HAI sings a Mongolian tune 4 times in 1 breath of 78 seconds with overtones.

Modifier les annotations Modifier les sous-titres AudioSwap Analytics Promouvoir Trần Quang Hải uses overtones to sing CÒ LẢ at Hạ Long Bay

Michel MOGLIA & TRAN QUANG HAI avec orgue à feu, 2ème partie

Tran Quang Hai chante Hymne à la joie avec harmoniques 30.01.10

The ODE TO JOY with overtone singing style by TRAN QUANG HAI

TRAN QUANG HAI sings "the Ode to Joy" with overtones in Montreal, CANADA

TRAN QUANG HAI sang "the Ode to Joy" with overtones in one breath, Berlin

Different types of voice in an improvisation by TRAN QUANG HAI.

TRAN QUANG HAI sang a Mongolian folk tune with overtones, Berlin

TRAN QUANG HAI sings Mongolian tunes with overtones in ROMA

TRAN QUANG HAI sings overtones on Reunion Island

TRAN QUANG HAI sings overtones at the famous restaurant on the way to Montreal, Canada, May 4,

Tran Quang Hai sings overtones at JMF show, Boulogne Billancourt, France , January 7, 2012

TRAN QUANG HAI joue de la guimbarde , JMF 70 ans, Boulogne Billancourt, 7 janvier 2012

Lucy Hornby :Mongolian throat singers defend tradition against China

Mongolian throat singers defend tradition against China

China Traditional Orchestra of Inner Mongolia, 2012

UNESCO listed Mongolian throat singing

Website HANGGAI

HangGai

Contents

History

Introduction

Short Biography

Timeline

2004

2005

2009

2010

Other Sources

Participated Festivals

Appearances in Press/Books

Discography

Videos

Further Information

Official pages

Other pages

Articles & Interviews

Photos

Videos

References

A showdown over traditional throat singing divides China and Mongolia

A showdown over traditional throat singing divides China and Mongolia

For nearly two decades, Odsuren Baatar, a master of Mongolian throat singing, has been visiting China to teach his craft — making the human voice soar, quiver and drone, its pitches in eerie unison like a bagpipe.

When he first started going there, his pupils were all beginners, because nobody in China knew much about throat singing.

FOLK MUSIC AND TRADITIONAL ETHNIC MUSIC IN CHINA

FOLK MUSIC AND TRADITIONAL ETHNIC MUSIC IN CHINA

Communist-Party-Endorsed Ethnic Music in China

Naxi Classical Music Orchestra

Su Yang and Folk Songs from Ningxia

Mongolian Throat Singing

Mongolians Teach Throat Singing to Chinese

Chinese Get Mongolian Teach Throat Singing Named as a Chinese UNESCO Intangible Cultural Heritage Asset

Fight Over Whether Throat Singing Should be a Chinese UNESCO Intangible Cultural Heritage Asset

UNESCO and a Culture Grab by China?

Alternative Ethnic Music Scene in China

Mongolian Rock Band Hanggai

Mongolian Punk Folk Singer and Hanggai

Shanren

Mongolian Throat Singers Take the Stage

Mongolian Throat Singers Take the Stage

TUVA国的呼麦王，很早用呼麦震惊西方世界的一个人

Master Kongar-ol Ondar

ボルド－エルデネ　練習風景　馬頭琴を伴奏に使っています

モンゴルホーミー演奏

モンゴル　ホーミー「チンギス・ハーン」

モンゴル国ホーミーコンクール優勝　Mongol Khoomei-MusicQlip