Throat vs. Singing / Tradition vs. Experiment: A Case of Singing

Tran Quang Hai

Department of Ethnomusicology Musee de l’Homme, Paris [email protected]

Abstract Introduction The Western world discovered during the The Western world discovered overtones during the 60’s in Tibetan chanting of the Gyuto monks. 60’s in Tibetan chanting of the Gyuto monks. Stockhausen, the first ‘German composer, used K.Stockhausen, the first German composer, used overtones in his compostion « » in 1968. overtones in his composition “Stimmung” in 1968. Mongolian throat voice with 6 different styles in the Mongolian throat voice with 6 different styles in the 70’s and Tuvan throat voice with 5 main styles in the 70’s and Tuvan throat voice with 5 main styles in the 80’s amazed Western singers, composers and 80’s amazed Western singers, composers, and researchers in many fields (acoustics, ethnomusicology, researchers in many fields (acoustics, ethnomusicology, phoniatrics). phoniatrics, contemporary music). Throat Singing from Central Asia (, , Bashkiria, Altai, ) is characterized by soft Khomei Styles fundamental (contraction of vocal folds), loud overtones (suppression of undesired ), and KHOMEI comprises three major Thorat singing styles numerous specific styles, while from called Khomei, Kargyraa and Sygyt, two main sub the Western world (Europe / America) is focused on styles called Borgangnadyr and Ezengileer and other strong fundamental (relaxation of vocal folds), soft sub styles overtones (presence of many undesired harmonics) , Khomei means “throat” or “pharynx” is a general term and only one style. for throat singing and also a particular style of singing. In Central Asia, throat singing is sung by one person Khomei is the easiest technique to learn and the most (mostly male) or sometimes a quartet without or with practised in the West. It produces clear and mild an accompaniment of an instrument (lute, fiddle, , harmonics with a fundamental usually within the drum), and sung melodic overtones in oral tradition. In medium range of the singer’s voice. Technically the Western world, overtone singing is sung by one person stomach remains relaxed and there is a low level (male or female very often for healing voice) or by an tension on larynx and ventricular bands. The tongue ensemble ( the Harmonic with David Hykes in remains seated flatly between the lower teeth as in the New York created in 1975, and the Oberton-Chor single cavity technique or raises and moves as in the Dusseldorf with Christian Bollmann in Germany two cavities technique . The selection of the wanted founded in 1985), without or with an accompaniment of harmonics is the result of a combination of different an instrument (Indian lute tampura, Australian trump lips, tongue and throat movements . didjeridu, Tibetan bowls), and polyphonic SYGYT means “whistle” and sounds like a flute . This fundamentals and overtones in written tradition. In style creates strong harmonics .Sygyt is sung with the , Xhosa women have the throat singing tip of the tongue under the middle of the roof of the discovered in 1980 . In New Guinea, the Dani tribe palate . Either the the tongue moves under the roof and possesses throat singing with three simultaneous levels. is fixed while the lips move to change harmonic Experimental overtone research carried out for 30 pitches .To produce a flute like overtones, one must years by the author of this paper will show new aspects learn how to filter out the fundamental and lower of overtones and undertones never heard before. harmonic components. A very strong pressure from the abdomen acting as a bellows to push the air through the Spectral analyses , sound documents and live throat . Significant tension is required in the throat as demonstration of different experimental examples of well, to bring the arytenoids near the root of the overtones/undertones will accompany this paper . epiglottis. The fundamental and the lower harmonics are consequently attenuated to be softly audible . KARGYRAA (means “hoars voice”) style emits a very low fundamental; Overtones are amplified by varying the shape of the mouth cavity and is linked to vowel productions. The supraglottal structures begin to vibrate

Mo4.C1.3 I - 301 with the vocal folds, but at a half rate . The arytenoids Techniques Ensemble) group at the San Diego also can vibrate touching the root of the epiglottis , University in 1972, Roberto Laneri and his Prima hiding the vocal folds and formoing a second “glottic” Materia group in 1973, Tran Quang Hai with his source . The perceived pitch is one octave lower than electro-acoustical composition (1975) “Vê Nguôn” normal, but also one octave and a 5th lower . In my (Return to the Sources, in collaboration with Nguyen voice’s case, the fibroendoscopy reveals the vibration Van Tuong), Michael Vetter in 1976, and the strong constriction of the arytenoids that hide in 1977, Meredith Monk in 1980, David Hykes and his completely the vocal folds Harmonic Choir in 1983 with the famous LP “A Tibetan Buddhist prayer of Yang style (Gyuto and l’ecoute du vent solaire” (Hearing the Solar Wind) in Gyume schools of Gelugpa monastery) is produced 1983, Joan La Barbara in 1985, Christian Bollman in with the vocal folds relaxed completely, and without 1985, Noah Pikes in 1985, Michael Reimann in 1986, any supraglottal vibration .The men's voices are pitched Tamia in 1987, Bodjo Pinek in 1987, Josephine so low that one wonders if this can really be human Truman in 1987, Quatuor Nomad in 1989, Iegor beings singing. In terms of the Western scale, the Reznikoff in 1989, Valentin Clastrier in 1990, Rollin pitches sung by the performers fall within the range of Rachelle in 1990, Thomas Clements in 1990, Sarah an octave with the lowest note situated at A two Hopkins in 1990, Bernard Dubreuil in 1990, Steve octaves and a third below middle C. In the Western bel Sklar in 1995, Mark Van Tongeren in 1995, Leo canto tradition, the lowest pitch in the bass tessitura is Tadagawa in 1995, Todoriki Masahiko in 1996, Les generally considered to be the E an octave and a sixth Voix Diphoniques in 1997 .The most renowned below middle C. However, the lowest pitch sung out so overtone singer of this type of singing is David Hykes . resplendently by these Tibetan monks is a full fifth He experimented with numerous innovations including below this. The technique of singing at such changing the fundamental (moveable drone) and subterranean pitches is not one acquired overnight. The keeping fixed the diphonic , introducing text, monks undergo rigorous vocal training which involves effects, in many musical works with his going down to the banks of surging river and producing Harmonic Choir . extremely loud sounds which can be heard above the Western overtone singers often use soft overtones with roar of the water..The use of vowell O is very important. combination of polyphonic system, and additional It enables the monks to produce the harmonic 10 The musical instruments (tempura, didjeridu, Jew’s harp, research of harmonic10 (major third of 3 octaves higher Tibetan bowls) with different purposes (relaxation, than the fundamental) is intentional. Only the vowell O meditation, healing, contemporary musical creations) can get the harmonic.Only the monks of the Gyuto and while traditional Siberian singers exploit the filtered Gyume monasteries could practise the overtones in their overtone voice with strong pressure at abdomen and prayers. throat in order to pruduce strong ,crystalized and flute Borbangnadyr and Ezengileer are a combination of like harmonics effects applied to one of the three styles mentioned above . Personal Experimental Research

Recent Researches in the West My experimental research on overtone/undertone productions has lead me to create new possibilities In the recent years, some researches have been carried 1. To use one harmonic as a drone and to create a out on the analyses of Khomei and more on Overtone melody with fundamentals Singing. The focus on these researches has been on the The fundamentals can be sung from 110 Hz to 220 Hz effort to discover exactly how overtone melodies are in the diatonic scale while keeping the same pitch of produced. Hypotheses as to the mechanics of Overtone the selected overtone at 1320 Hz. In order to obtain this singing range from ideas as to the necessary physical result, the tip of the tongue strongly touches the stance and posture used by the singer during a meeting point of the hard palate and the soft palate or performance, to the actual physical formation of the velum under the roof of the palate and should not make mouth cavity in producing the overtones . any movement . In that case, the two buccal cavities Acoustically, a vowel is distinctive because of its obtained by the position of the tongue inside of the formant structure. In Overtone Singing, the diphonic mouth have the same volume and get the same overtone formant is reduced to one or a few harmonics, often pitch in spite of the changing pitch of the fundamentals . with surrounding harmonics attenuated as much as 2. To create a parallel between fundamentals and possible (filtered vocal style). overtones In the Western world, the Overtone singing style has The overtones are always 3 octaves higher than the suddenly become very popular starting with new ideas fundamentals while singing the ascending and in contemporary compositions and later on with descending diatonic scale with the fundamentals . If meditation, relaxation, music therapy, voice healing. the fundamental is at 110 Hz , the overtone will be was the first in the West using heard at 880 Hz. If the fundamental is moved up to 220 simple overtones in his composition “Stimmung” Hz , the overtone will be at 1760 Hz . For this (1968), followed by the EVTE (Extended Vocal experiment,, not only the tip of the tongue is hardly

I - 302 pressed against the roof of the palate and moves from According to my research, the fundamental of voice the velum to the hard palate when the fundamentals should be at 150Hz . moves from A2 (110 Hz) to A3 (220 Hz) in order to 1 Mulâdhâra coccyx H n° 4 U 600Hz create the same pitched distance of 3 octaves in 2 Svâdhishthâna genitals H n° 5 O 750Hz parallel . 3 Manipûra navel H n° 6 Ö 900Hz 3. To create the opposite direction between 4 Anâhata heart H n° 8 A 1200Hz overtones and fundamentals 5 Vishuddha throat H n° 9 E 1350Hz In this experiment , when the fundamental is sung at A2 6 Ajnâ between eyebrows H n°10 AE 1500Hz (110 Hz) the overtone is at H16 (4 octaves above the 7 Sahasrâra top of head H n°12 I 1800Hz fundamental). When the fundamental goes up to A3 (220 Hz) , the overtone goes down to H4 (2 octaves Conclusion above the fundamental). Thus, this creates the opposite The phenomenon "overtones/undertones" has been movement of fundamentals and overtones . To obtain this result, the position of the tip of the tongue touches studied by researchers, acousticians, used by music near the teeth under the roof of the palate (H16 will be therapists, composers for contemporary music, at heard) and moves back slowly to the velum (H4) while meditation lessons. More and more recordings have the fundamentals start with low pitch (A2) and ends been made during the last 10 years all over the world . with high pitch (A3) of the A tonality All musical sounds contain overtones that resonate in 4. To write words with overtones (such words fixed relationships above a fundamental frequency. like MINIMUM, WIN ) These overtones create tone color, and enable us to A certain number of words can be written with understand the sounds of this peculiar vocal style which overtones . With the same pitch of the fundamental , is KHOMEI or throat singing or overtone singing . This the written words can be obtained by various overtones short presentation cannot be considered as an exhausted at three levels (under 1,000 Hz, 2,000 Hz, and 3,000 study, but as a beginning of the new approach of how Hz) to develop overtone/undertone research in general. This 5. To create UNDERTONES (F-2, F-3, F-4 is what I intend to show you here about my new while singing a melody) attempts in research on experimental aspect of throat singing . Some traditional throat voices like Tuvan Kargyraa, Xhosa Umngqokolo from South Africa, the Tenore Selective Bibligraphy voice of the Sardinian Quintina (the fusion of 4 main voices creates the virtual fifth overtone voice) use the Adachi, S., Yamada, M. 1999: “An Acoustical Study of undertone going down one octave lower than the real Sound Production in Biphonic Singing, Xöömij”, fundamental . Leonardo Fuks from Brazil arrived to go Journal of the Acoustical Society of America 105: down to F-5 (2 octaves and a major third below the 2920-2932, USA. fundamental) but he could not sing a tune with that Bloothooft G. Bringmann E., van Capellen M., van way . I have succeeded in dividing the fundamental Luipen J.B., Thoamssen K.P. 1992: “Acoustic and pitch into 2, 3, and 4 . With the use of arytenoids Perception of Overtone Singing”, in Journal of the inside of my throat , I could sing one octave lower (F- Acoustical Society of America, JASA, vol.92, n°4: 2), one octave and a fifth lower (F-3) and two octaves 1827-1836, USA lower (F-4) than the real fundamental pitch (between Dargie, D. 1993: “Thembu Xhosa umngqokolo 110 Hz and 150 Hz) . It is not possible to create the overtone singing : the use of the as a type undertones above 220 Hz . of “musical bow”, paper presented at the ICTM 6. To combine OVERTONES and Conference in Berlin. (self publication) UNDERTONES while singing a melody Fuks, L., Hammarberg, B., Sundberg, J. 1998: “A Self- In Tuvan kargyraa, and Xhosa umngqokolo from South sustained vocal-ventricular phonation mode: acoustical, Africa, the combination of overtones (melody) and aerodynamic and glottographic evidences”, KTH TMH- undertones (real fundamental split into two – F-2) can QPSR 3/1998 : 49-59, Stockholm, . be produced simultaneously . With my experiment, I Grawunder, S. 2003 : “Der südsibirische Kehlgesang could sing an overtone melody with the fundamental als Gegenstand phonetishcer Untersuchungen“ , in divided into 3 (F-3) simultaneously . The perception is Gegenstandsauffassung und aktuelle phonetische consequently not the same Forschungen der halleschen Sprechwissenschaft :53-91, 7. To create overtones corresponding to 7 Eva-Maria Krech/Eberhard Stock (Ed), Peter Lang, chakras in Yoga Halle, Germany . In Yoga, there exist 7 chakras corresponding to 7 Grawunder, S. 2003: „Unusual phonetic and acoustic vowels, 7 sounds or pitches, 7 overtones and 7 points of features in certain styles“, the human body. I carried out experimen-tal research in Scientific Center of Research „Xoomei“, Kyzyl, Tuva the presence of overtones in Yoga. The result of my Leipp, E. 1971 : “Le probleme acoustique du chant three-year study was presented at the International diphonique”, Bulletin du Groupe d’Acoustique Congress of Yoga in France in 2002 . Musicale , no 58 : 1-10, Universite de Paris VI

I - 303 Leothaud, G. 1989 : « Considerations acoustiques et www.khoomei.com musicales sur le chant diphonique », Le Chant www.oberton.org diphonique, dossier n°1 : 17-43, Institut de la Voix, www.google.com (type each of these words : overtone Limoges, France singing , throat singing , biphonic singing, diphonic Levin, T.C., Edgerton, M.E. 1999 : « The Throat singing, canto difonico, oberton, khoomei, sygyt, Singers in Tuva », Scientific American : 80-87, USA kargyraa, harmonic singing,) Sundberg, Johan 1987 : The Science of the Singing Voice , Northern Illinois University Press, USA Lindestat, P.-A, Sodersten, M., Merker,B., Granqvist, S. 2001: “Voice source characteristics in Mongolian “Throat Singing” Studied with High-Speed Imaging Technique, Acoustic Spectra, and Inverse Filtering”, J.Voice 15: 75-85. Sakakibara, K.-I., Adachi, S., Konishi, T., Kondo, K., Murano, E.Z., Kumada, M., Todoriki, M., Imagawa, H., Niimi, S. 2000: “Vocal Fold and False Vocal Fold Vibrations and Synthesis of Khoomei” Proc. Of ICMC :135-138 Tisato G., Cosi, P. 2003: “On the Magic of Overtone Singing”, in Voce, Canto Parlato : 83-100, Unipress (publisher), Padova, Tongeren , van M. 2002 : Overtone Singing / Physics and Metaphysics of Harmonics in East and West , 271 pages, Fusica publisher, 1 CD , Amsterdam, the Netherlands Tran Quang Hai , Guillou D. 1980 : « Original Research and Acoustical Analysis in connection with the Xöömij style of Biphonic Singing “, in Musical Voices of Asia : 163-173, The Foundation (ed), Heibonsha Ltd, Tokyo, Japan Tran Quang Hai , Zemp H., 1991: “Recherches experimentales sur le chant diphonique”, Cahiers de musiques traditionnelles, 4 (Voix) : 27-68, Ateliers d’Ethnomusicologie, Geneva , Switzerland . Tran Quang Hai 2002 : « A la decouverte du chant diphonique », in Moyens d’investigation et Pedagogie de la voix chantee : 117-132, with a CD Rom, Guy Cornut (ed), Symetrie publishers, Lyon, France

Filmography

1990 Le chant des harmoniques (The Song of Harmonics), film 16mm and video cassette , 38 minutes, directed by H.Zemp, co-authors (Tran Quang Hai and Hugo Zemp), CNRS Audio Visuel (prod), France . Contact: Tran Quang Hai, email: [email protected] or [email protected]

2003 Le chant diphonique (the Diphonic Song), DVD , 27 minutes, directed by C.Beguinet, co-authors (Tran Quang Hai and Luc Souvet), Centre Regional de Documentation Pedagogique (CRDP), Saint Denis, Isle of the Reunion, contact: Luc Souvet, email : [email protected]

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