a common space & database for harmonic overtones
About me: Multi-instrumentalist from the Netherlands. My first steps into the world of music were my father's classical records and recorder lessons (some sort of fipple-flute). Later on, as a teen, I widened my musical world with rock, grunge and metal. Bands like Soundgarden and other riff-based bands made me conscious of the power of simple melodies played over repeated rhythmical patterns and their use of "unusual" scales mesmerised me. Later on a friend of mine brought me in contact with folk and traditional music, which seemed a natural development to me.
My aim is to make music that stands in a long tradition, influenced by the almost forgotten music and nature of northwestern Europe.
When composing, I usually try to catch the spirit of the old folktales of my home region, the southeastern parts of the Netherlands, where until the beginning of the 20st century, stories were told about dwarfs and other odd people living on the edge of society - literally, in their heather-sod homes.
About me: Sedaa means "voice" in Persian and connects traditional Mongolian music with the Orient which makes an extraordinary and fascinating sound.
Master singer Nasaa Nasanjargal and Naraa Naranbaatar who studied in their Mongolian homeland are very well known through their band Transmongolia. Together with the virtuosic Dulcimer player Ganzorig Davaakhuu and the Iranian Multi- instrumentalist Omid Bahadori they abduct you into one genuinely exotic world between Orient and Mongolian steppe.
The base of their modern composition is formed by natural sounds which are produced with traditional instruments and the use of old age song technologies of their nomadic ancestors with which a person produces several tones at the same time.
Vibrating undertone vocals and the amazing harmonic singing Hömii with the company of the melancholy sounds of the horse head violin Morin Khuur and the pearly sounds of the 120 strings hammered Dulcimer melt into the pulsating oriental drum rhythms to one mystical sound.
<hr/>If you are interested in any classes for Kargyraa (underton singing), Höömii (mong. overtone singing) and oriental Percussion or to get more information please email us: email@example.com<hr/>
About me: Seit 2005 spiele ich Gongmeditationen in der Tradition von Yogi Bhajan, erlernt in der Gong-Ausbildung bei Nanak Dev Singh. Weitere Ausbildungen zum Gong Yoga Teacher absolvierte ich bei Methab Singh Benton und Teaching-Workshops bei Don Conreaux, Jens Zygar (Planeten Gongs und Frequenzen) sowie Sheila Whittaker (Gong Healing). Die langjährige Erfahrung von Einzel-Gongsessions bis zum Multi-Gongspiel auf großen Festivals gebe ich nun an begeisterte Gong-Interessierte in meinem Gong-Training weiter.
About me: Anthar Kharana, is a composer and multi-instrumentalist born in a small town called Ocana in the North of Colombia and years later he moved to Bogota. He grew up in a musical family and his first link with music was at the age of nine. He has been involved in many musical projects and bands, offering him a wide vision about different ways of putting together sounds and intentions, feelings and thoughts. Starting with rough punk in his early years as a result of the oppressive political situation in Colombia, to then begin training himself as a counter-tenor (highest male voice’s pitch in opera) afterwards, giving him the ability to increase his voice range and to reach high pitches that sounds like female voice.
After years of practice he developed the complex technique of Throat Singing, including Khoomii from Mongolia also known as Polyphonic Voice, and other overtone styles incluiding western harmonics which made an important step whilst working with Vibrational Sound Healing. As part of that process, together with his passion for different ancient cultures, he started to investigate about the power of sound and how it generates changes in many different ways and levels of conciousness.
Anthar is also an educator and has been touring the UK facilitating Traditional Colombian drumming and Tribal Voice workshops in different festivals and schools. He teaches and shares the roots of Colombian traditions and rhythms of the Indigenous people who were living (and still) on the Carribbean Coast of Colombia and got mixed with African slaves brought with the Spanish colony at the end of the 16th century.
for more info please visit:
About me: Got into overtone music after learning to play the didgeridoo in India.
I like to sing overtones and play all kinds of overtone instruments.
Currently i am playing with a local group called "Sabaya"
in October of 2008 my first cd -" Break Of Silence" was released with a great help of my dear friends- "Curry records"..
After recieving my high-education of didgeridoo building from Yoram Sivan, i started building my own multi-overtone instrument- the "1TONE steel tongue drum", which you are welcome to check out on www.1tone.co.il
I am an airbrush artist - you can find some of my works at my website: www.anton.co.il
glad to be ONE with this divine comunity
About me: - I studied The Conservatory of Jaroslav Ježek (CJJ) in Prague, subject pop-singing
- Since 2006 – many courses focused on the voice training and overtone singing (e.g. courses of Chris Amrhein and Wolfgang Saus – Germany; Hosoo TransMongolia; Ivana Vostárková – Czech Republic; David Hykes – USA; courses of the voice-schol Complete Vocal Technique – Cathrine Sadolin, Denmark)
- Singing in many choirs and bands playing the dance music. As a child taking part in many singing competitions in Czech Republic; later also in the Czech TV competitions.
1999 - 2000 – Russian rock opera Juno and Avos, project of the CJJ (performed in the theatre in Prague) - I was the alternance of the female main role (Conchita), also taking part in the company
2003 - 06 – member of the overtone group Tashi Deley, Prague
2003 - 04 – cooperating with the German overtone singer and multi-instrumentalist Chris Amrhein, taking part in the concerts in Germany with the German overtone group Urkraft
2004 (September) – member of organizing team of the 1. Overtone festival in Prague
2005 - I was in the TOP 12 of the popular TV competition „The Czech is looking for the SuperStar“ (known as Pop Idol)
2007 (summer) – solo part – concert with rock repertoire (Pink Floyd, Deep Purple, Queen, Led Zeppelin…) named Radeberger Philharmonic Rock Night in Dresden, accompanied by Prague Philharmonic
- In November 2007 - we released the CD „Světlo v nás“ (= „Light Within Us“) also called „Music of the inner stillness“, project Le´HarMonja. This CD is the live-recording of the church-Christmas-concert 06
I have been a voice-pedagogue (since 2004) – teacher of singing, overtone and pop-singing in Prague
Since 2006 - I´m giving workshops:
1) Overtone techniques, resonance, voice training and proper breathing
2) Improvisation – discovering the inner potential for singing, voice improvisation as a way of self-expression by music and singing.
3) Consonance – working with vowels; resounding the voice leads to resounding the whole body and the deeper self-awakening
- Since 2007 – cooperating with the Maternity Centre in Prague, workshops for pregnant women (working with voice, proper breating, singing, sounding - as a way to the deeper comunication with the baby) :o))
About me: I started as a clarinetist playing classical music, and took up saxophone, studied jazz and composition, then continued to try and learn other instruments, focusing on the jews harp in particular. I perform many styles of music today, and also like to do audio engineering when I have the chance. Here are the regular bands I currently play in:
<b>The Guy Mendilow Ensemble</b> - <a href="http://www.guymendilow.com/">website</a>
<li>features jews harp, overtone singing, berimbau, amidst a multi-ethnic mix of influences.</li>
<b>The Macrotones</b> - <a href="http://www.macrotones.com/">website</a>
<li>A 10+ piece Afrobeat and funk/groove ensemble. Less relevant to this community I guess, but still a fun band.</li>
About me: Michael Ormiston has been composing, performing, teaching and writing about music for many years. He is a multi-instrumentalist and is currently involved as a solo performer, in a duo with Candida Valentino and a member of Miraca, Boundless, Hyperyak, Mysterious Tremendum, Praying for the Rain music groups. His original compositions have been used on TV (BBC and Channel 4), Theatre (Theatre de Complicite), Dance (Ballet Frankfurt, Spiral Dance) and performance (London Jazz Festival). His throat singing has been used on Hollywood Films (The Golden Compass, We Were Soldiers), and TV (BBC’s acclaimed series Planet Earth, Last of the Medicine Men). He has performed globally including for His Holiness The Dalai Lama. Michael is also a radio programme researcher, writer and presenter, a traditional music reviewer (Songlines magazine), a workshop leader, teacher and researcher in Mongolian music. He is one of the principal workshop leaders and performers of Eye-Music’s Colourscape.
Michael specializes in Mongolian Khöömii (overtone) singing, being one of the only non-Mongolians able to sing Khöömii. He has been studying Khöömii since 1988, attending lectures by Dr Carole Pegg (Cambridge University), Tran Quang Hai (Muse de l’homme, Paris) and Dr Alan Dejaques (Lille University). He has travelled to Mongolia six times (1993/94/97/2000/05/6) where he studied Khöömii with Tserendavaa, Gereltsogt, Ganbold, Sengedorj, Tsogtbaatar, the “Cream” of Mongolia’s Khöömii singers. In 1994 Michael was given the blessing by Gereltsogt to teach the basic practices of Khöömii Singing. Since then he has given workshops, lectures and individual lessons worldwide and in the summer of 2002 Candida and Michael toured Europe with Tserendavaa who gave both of them his blessing to teach the basics of Mongolian Khöömii. In 2006 Michael was invited to perform in Mongolia with Mongolian throat singers as part of the 800th anniversary of the declaration of the Mongolian Empire.
Michael has facilitated Khöömii and Overtone singing workshops in the U.S and Europe including at the School of Oriental and African Studies (SOAS), London, Greenwich University, London, The Giving Voice Festival (Wales), Gaunts House, Dorset, The New Life Centre, New York, Ballet Frankfurt, Germany, The Centre of Intercultural Harmony, Ascona, Switzerland, Trinity College Dublin with the Temenos Project, Alternatives, St James Church, London, The Eden Project, Cornwall, England
For the past thirteen years Michael has led workshops, evenings and therapy sessions in Relaxation, Meditation and Deep Listening using Tibetan Singing Bowls, ever since Khamba Lam Choijampts, the head Abbot of Ganden Monastery, Ulaanbaatar, Mongolia heard Michael playing them.
Michael has recorded many acclaimed CD’s please click for more information
Or visit myspace pages
Michael has a rare collection of Mongolian instruments including the Morin Khuur, Tobshuur, Tömör Khuur, Khulsan Khuur, Limbe, Yatag, Tsuur. Among the other instruments he plays are, Tibetan Singing Bowls, Symphonic Gongs, Saz (Turkish long necked lute), Flat backed Bouzouki, Ney (Turkish end blown flute), Jew’s harps, Live electronics……
About me: RESEARCH
I hold a Ph.D in Ethnomusicology from SOAS, University of London (2017), an M.A. in Ethnomusicology (UBC 2008), and a B.A. in Interdisciplinary Studies (UBC 2006). My research focusses on the cultural study of musical instruments, multi-sited ethnography, historiography, music revival, and transnational subcultures and scenes.
My primary research project is an ethnographic study of jew’s harp revival communities based on multi-sited fieldwork in Norway, Austria, Sicily, and online. My work uses the jew’s harp to examine how musical instruments reflect changing tastes, technologies, and social identities, and how transnational music communities are changing radically in the digital age. This research was supported by a Doctoral Fellowship from the Social Sciences and Humanities Research Council of Canada (SSHRC), and a Research Scholarship from SOAS, University of London.
My work engages with the musical ethnography of Europe, and aligns with the growing area of historical ethnomusicology. While the jew’s harp has been one of the most popular musical instruments in Europe since the Middle Ages, it has long been seen as an object of little value, sitting at the junctions between classical and folk, public art and private enjoyment, and urban and rural. My research demonstrates how the jew’s harp and the study of “unpopular” music can be used to critically engage with the core concepts of value, virtuosity, and productivity at the centre of European musical discourse.
I am currently a sessional lecturer in music at Simon Fraser University and Vancouver Community College. My teaching interests include the music of sub-Saharan Africa and its diaspora; the trans-Atlantic feedback cycle; music transnationalism through a global, post-colonial lens; exoticism, fusion, and appropriation; gender and sexuality; critical approaches to power and underrepresentation in academia and the music industry. Regions of specialization: West Africa, South Africa, the Caribbean, North America, India, and Indonesia.
Simon Fraser University
Afrofuturism in Music (Term 1, 2018); elective for upper-level non-majors
Music of Transatlantic Africa (Term 1, 2016, 2017); elective for upper-level non-majors
Vancouver Community College
Afrofuturism in Music (Term 1, 2018); required course for upper-level Music majors
Women in Music (Term 1, 2018); upper-level seminar
Music in Context (Terms 1 and 2, 2018/19); team-taught first year history course
Music of Transatlantic Africa (Term 1, 2015, 2016, 2017); required course for upper-level Music majors
Music of India and Indonesia (Term 2, 2016, 2017, 2018); required for upper level majors
SOAS, University of London
Introduction to Music Analysis seminar (Term 1, 2014); required course for first year Music majors
Jew’s Harp Ensemble (2012-2013, 2014-15); performance ensemble/student society
About me: A walking testament to the success of multiculturalism" SONGLINES
"A VIRTUOSO" - The Times
"A Universal Musician" - Hermeto Pascual
He remains relatively anonymous, keeping his biographical
information to a minimum, dropping his surname and, I suspect, adopting a
new name altogether. A child of the world' - Verity Sharp, BBC Radio3 late Junction
RAVI: a brief history
Ravi has played kora (west-african harp) in his unique style since 1985; developed a stereo/electric/aluminium kora; released over fifteen albums; singer/songwriter, instrumentalist, composer and overtone singer as well as workshop leader; live & recording projects include: Neuneneu (Humanity) with the Mehenaku Amazonian indians and Marlui Miranda, Kora Colours, The Overtone Choir, The Afro-Indian Project, The Afro-Brazilian Project plus solo performances and a duet with Marlui Miranda
Perfomances have included:
Festivals: WOMAD, Festival Musicale del Mediterraneo, Glastonbury festival, Edinburgh International Harp Festival, Shetland, Belfast and Cork Folk Festivals, Glasgow Mayfest, Hull Jazz Festival, Lamer Tree, Cabo Verde Jazz Festival, Westport Art Festival, The Lizard and The Festival of World Cultures
Venues: Purcell Room, Queen Elizabeth Hall, Eden Project, British Library, Dartington Hall, Band on the Wall, Rosin Dubh, Connoly's of Leap, Wheelans (Dublin) and various arts centres (Garter Lane, Ucheldre, Bridport, Exeter, Mwldan)
Workshops: world music workshops (with a focus on overtone singing) and lectures at various insitutions and arts centres such as Colorado State University; Northfield College, Minneapolis (go to the workshops page for more)
Ravi's instruments and sounds:
kora, electric kora, berimbao, percussion, bells, gongs, singing bowls, ethnic flutes, djembe, congas, bongos, overtone singing (aka throat singing), programming, guitar, keyboards, bass, aeolian harp
Previous productions and commisions: over fifteen collaborations and solo albums, many of which Ravi engineered, plus TV and film music including music for "The World's Greatest Bank Robbery" for Tiger Aspect (with Craig Pruess), the BAFTA award winning Touching The Void and the documentary Love in Action (about Mother) Teresa and "Chakra Dance" for The School of Awakening