Recently I received my book Overtone Singing, translated into Japanese. What a nice surprise! I was not aware that my publisher was contacted by a Japanese agent shortly after the book came out in 2022. But recently it came to my attention, with no further details and no updates.

It is a neat, small-sized and quite thick book. Well-designed, beautiful typographic cover.
Including all the original illustrations, as far as I can see.

Translated by Ohkita Yoshiyuki and published by Hikaruland Publishing Co. Ltd.

A dream come true!

Link to Amazon Japan.

One of my first sources about Mongolian throat singing was a book and album devoted to a symposium held in Japan in the late 1970s. It contained articles and recordings, and the main source was the famous Sundui. Such a mystery still at that time! This was the very early 1990s. Then in 1993 I went to Tuva and met Japanese scholars and singers, and again in 1995. At that big symposium there were several important Japanese delegates: Makigami Koichi and Leo Tadagawa.

Makigami Koichi and Leo Tadagawa, 2nd and 3rd from left. International visitors at the Khöömei Festival, Kyzyl, Tuva, Russian Federation, 1995.

There is a strong connection with Central Asia, in particular Tuva and Mongolia, but also the Altay, Khakassiya. One of the very early movers in this area was Makigami Koichi, who set up a Tuva – Japan friendship association and kept on (and keeps on) coming back to Tuva and inviting musicians to Japan – also from Altay, like Bolot Bairyshev.  Makigami and his company also organised tours and published albums of musicians from South Siberia, nearly always related to throat singing. I met Makigami-san again and again: first in Tuva, then in Germany where we performed with Alexander Lauterwasser’s device to transform sound into visuals (cymatics), later in New York City with Jong Zorn after we both performed there. Of course in the Netherlands, where he was a guest with our band Oorbeek at the International Jew’s Harp Festival in 2006 and in recent years several times in Taiwan.

When I was at another festival in Tuva in the year 2000, there were many young Japanese throat singers. They formed a group called Vions (which translates as ‘overtones’) and worked independently in different fields of art and performance. Another early adopter of many things Tuvan was Todoriki Masahiko: he spent lots of time travelling through Tuva to observe flora and fauna, collect pictures for his postcard editions, learn the language and collect songs and lyrics, and learn throat singing. He also came to Taipei to teach and perform.

So far, most Japanese I met and heard were interested in, or based on, the traditional forms from Mongolia and Tuva. There have been several throat singing festivals in Japan, starting already in the early 2000s: a testament to their dedication to the original masters. Non-Japanese have often thought the Japanese have some kind of overtone singing of their own: indeed, the range of vocal styles and techniques is enormous. Among the very skilled voice types we find, for example, the (Buddhist) Shomyo chants of the Tendaï sect, which I always play for my R E S O N A N C E  students. You can hear the overtones even when they do not make a conscious effort to sing them. (Michael Vetter confirmed this during his long-term stay in Japan from 1973-1983.)

Not many young people seemed to be interested in learning the non-guttural styles. But every once in a while I learnt about performers and composers who did extraordianry things with timbre, guttural sounds and/or overtones. Ken Ueno (not a Japanese citizen, I know) and Fuyuki Yamakawa belong in this category. I also consider the work Mandara Trilogy by  Somei Satoh an exploration of vocal overtones, though it is not the main material.

In recent years, I started hearing a bit more from people interested in non-traditional overtone singing, but there must be much more than I know.

Link to Amazon Japan.

The post A Japanese translation of Overtone Singing 『オーバートーン・シンギング』 appeared first on Fusica.

 注意：某些練習對部分人來說可能會造成聲帶負擔。請隨時保持警覺並為自己負責，如此你就可以安心探索！

【時間】
2025年8月28日 14:00-18:00

【地點】

【課程表】

【工作坊介紹】

【誰適合參加？】

【需要準備什麼？】

【語言】

【帶領者介紹】

【團隊】

【報名費用】

【報名方式】

【取消政策】

【有問題嗎？】

STRANGE SOUNDS
Explore the boundaries of your voice

The post Workshop Strange Sounds appeared first on Fusica.

Heart Sutra and Nokyo Reciting

共鳴般若：心經與Nokyo唱誦工作坊

a modern way to receive the blessings of reciting

透過念誦獲得祝福的一種現代方法

Mark 談他的Nokyo’s：

自2022年底以來，我幾乎每天都寫一篇「Nokyo」，這是從日本的經文或經典（okyo）衍生而來的。心經無疑是最著名的經文範例。這些誦經以多種方式激活身心：它們共鳴，調節呼吸，跟隨各種節奏模式，並逐漸深入我們的內在。有些誦經富有挑戰性且速度快，另一些則非常緩慢：就像把一個稜鏡放在你的聲音周圍，以聽、看和感受它的所有色彩。

在一天之內，你將體驗念誦、吟誦和唱誦的全然效果，而不必擔心這些文本是否符合你的宗教信仰。意義在非話語的層面上產生，或者根本不再重要。這裡有很多空間來了解身體化知識和非二元性。

在早晨，我們用輕柔的練習來準備身體、心靈和聲音。我們喚醒感官，放鬆那些僵硬或堵塞的通道。逐漸地，我們將聲音和波動的能量置於舞台中央。從那裡開始，我們探索Nokyo：你將會收到一本包含挑選過的Nokyo的小工作手冊（包含在工作坊內）。我們將從一些非常簡單的念誦開始，逐步發現更多的可能性。在一天結束時，你將掌握許多Mark的Nokyo唱誦的基本步驟。我們最後會組成小組，自行選擇並誦讀你所選的Nokyo。

【其他人怎麼說】

Nokyo唱誦已經被介紹到幾個身心工作者的團體中。他們認為這是一個幫助他們的身心工作擴展到聲音領域的非常有用的方式。某工作坊主持人如此描述這種體驗：

「一年前，Mark van Tongeren 來到我們學校，給我們進行泛音唱法的實踐介紹。一天結束時，他為我們的學校介紹了一個Nokyo，供我們吟誦。在去年秋天的葡萄牙僻靜營，我們探索了這個Nokyo。當大家作為一個團體一起吟誦時，可以聽到層次分明的聲音合而為一，形成一種空間感的體驗。此外，也有許多個體層次的經驗。例如，它會促使身體釋放緊張感，特別是在喉嚨後方沿著脊椎的部位。對於那些不習慣唱歌、平時只是用聲音進行日常溝通和分享訊息的人來說，這是一個非常寶貴的機會，可以遠離常規、發現自己獨特的聲音，並作為一種與手臂和手的動作密切相連的表達方式，因此也與肩頸有關聯。」

【誰適合參加？】

沒有任何限制！

【語言】

英文以及中文即席翻譯

【帶領者介紹】

Mark van Tongeren 是一位聲音探索者，對藝術、科學和靜修傳統的交互作用有著深厚的興趣。Mark 在戲劇、音樂和舞蹈製作領域擁有超過30年的經驗，並擁有萊頓大學創意與表演藝術學院的博士學位。他練習瑜伽已有約25年，並在大約12年前創立了一種結合藝術表演工具的瑜伽形式。自少年時期以來，他便開始嘗試、研究並參與多種聲音、音樂和表演實踐，並不斷擴展他的「聲音詞彙」。對他音樂和思想影響深遠的是多媒體藝術家 Michael Vetter（1943-2013），Vetter 曾在日本擔任多年禪僧。1990年代初，Mark 開始接觸 Vetter 對日本經文（「okyo」）誦經的激進重新詮釋。

【團隊】

本次工作坊還由即席翻譯兼共同籌辦者者李紀辰協助，她負責聲音工作坊的翻譯，並受聲音的啟發，繼續探索相關領域；以及行政助理張惜音協辦，本身也是聲音療癒師，熱愛唱歌和創作音樂。

報名、詢問工作坊詳情，歡迎聯繫惜音 hsiyin724@gmail.com

【報名費用】
全額費用：6250元
2025年8月5日前
●早鳥 / 9折優惠 NT$ 5600 元
●共鳴 / 舊生/TOSA會員/經濟需要支持的藝術家 85折優惠 NT$ 5300元
2025年8月6日之後
●全價 NT$ 6250 元

費用包含
● 含約20篇Nokyo的手冊，您可以帶回家練習。手冊將包含新的Nokyo，所以去年參與過的學員若有興趣再次加入，也會學習到新的Nokyo。
● 簡單茶點

費用不包含
● 午餐，但附近有很多好選項！

【報名方式】

1.請透過此連結報名

https://form.jotform.com/242612129392353

2.確認報名費用後，請在三天內進行學費匯款

3.匯款完成後，請聯絡惜音

—-Email：hsiyin724@gmail.com

——————————————

4.經確認款項後，將在五天內發出報名確認信件，也會與您確認行程詳細事宜

【取消政策】
我們盡量保持合理的價格。如果您在課程開始前31至60天取消報名，我們將退還90%的費用。如果您在課程開始前15至30天取消報名，我們將退還50%的費用。如果您在課程開始前14天內取消報名，我們將退還20%的費用。如果您找人代替參加，我們只收取10%的行政費。

【有問題嗎？】
請隨時與我們聯繫！

【責任歸屬】

報名此工作坊代表你了解:

1) 工作坊可能會有劇烈肢體運動，引起身體跟心理的衝擊。

2) 工作坊中的每項活動都不是強制性的，你必須衡量自身狀況(身體/心理/情緒)來決定要不要參與。

3) 你會對自己的身體及心理狀態負責，主辦方不承擔任何相關的傷害、損失及賠償責任。

WORKSHOP DESCRIPTION

Mark about his nokyo’s:

Almost every day since the end of 2022 I write a nokyo, which is derived from Japanese okyo’s, or sutra’s. The Heart Sutra is by far the most famous example of an okyo. These recitations activate body-mind in many ways: they resonate, regulate the breathing following all kinds of rhythmic patterns, and gradually sink down deeper into our being. Some are challenging and fast, others extremely slow: as if you put a prism around your voice to hear, to see and to feel all its colours.

During one day you get to know the wholesome effect of reciting, singing-speaking and chanting, without having to worry if the texts fit into your religious convictions or not. Meanings arise on a non-discursive level or are simply not relevant anymore. There is much space for getting to know embodied knowledge and non-duality.

In the morning we prepare body, mind and voice with gentle exercises. We awaken our senses and soften the channels that are rigid or blocked. Gradually we put the voice and energies of vibration centre stage. From there we start exploring the written nokyo’s: you receive a small workbook with a selection of nokyo’s (included in the workshop). We will start with some very easy nokyo’s and gradually discover more possibilities. By the end of the day you have a good grasp of many of the basic procedures or Mark’s nokyo reciting. We finish by making small groups and chosing nokyo’s that you select yourself.

WHAT OTHERS SAY:

Nokyo chanting has been introduced to several schools of practitioners, who find it a very useful expansion into the sonic realm of their body-mind pratices. One workshop hostess described the experience as follows:

One year ago Mark van Tongeren visited the school to give a practical introduction on overtone singing. At the end of the day he presented our school an Okyo for chanting. This Okyo we explored in chanting during the retreat in Portugal last Autumn. There was the spatial experience in chanting, hearing the layers of sound unified when chanting as a group. And there were many more individual experiences. Like how it provokes in the body a release of tension specially from the back of the throat along the spine. Or for those not used to singing and using the voice other than for daily communication and sharing of information it was very valuable to discover the own unique voice free from conventions and as a means of expression closely connected to the hands and arm movements, and therefor also the neck and shoulders.

DATE & TIME

Friday August 22
10:00 – 17:00

TIME SCHEDULE 

10:00 – 10:15 arrival
10:15 – 10:45 warming up, vocal-body resonance
10:45 – 12:15 Heart Sutra & Nokyo Chanting Part I: How to Read or Recite Nokyos?
12.15 – 13.15 lunch break
13:15 – 15:45 Nokyo Chanting Part II: the ‘365 Algorhythms’
15:45 – 16:00 tea time
16:00 – 17:00 Nokyo Chanting Part III. . Q＆A

LOCATION

Dongli Academy
https://www.facebook.com/share/p/EQxyJ2N8qFDG4MJa/
大同區迪化街一段256號, Taipei, Taiwan
02 2768 8777
Dong-li Academy is a gallery run by artist Jimi Wen in the Dadaocheng area. The place used to be a musuem about comfort women. Jimi hosted many music events over the past few years.

FOR WHOM

No restrictions

LANGUAGES


English + Chinese

YOUR TEACHER

Mark van Tongeren is a sound explorer with a deep interest in the synergy of arts, sciences and contemplative traditions. Mark has over 30 years of experience in theatre, music and dance productions and holds a PhD from Leiden University’s Academy of Creative and Performing Arts. He practices yoga for some 25 years, created a form of yoga that integrates artistic-performative tools about 12 years ago. He has played and experimented with and studied numerous kinds of voice / music & performance practices since he was a teenager and continues to expand his ‘voca-bulary’. A great influence on his music and thinking was multi-medial artist Michael Vetter (1943-2013), who spend many years as a Zen monk in Japan. In the early 1990s Mark became acquainted with Vetter’s radical reinterprations of Japanese sutra (‘okyo’) recitations.

SUPPORTING TEAM & CONTACT

This workshop is also brought to you by interpreter and co-organiser Chi Chen Lee, who interprets for sound workshops and is inspired by sound to continue the exploration; by administrative assistant Hsi-Yin Chang, who is also a sound and wellness practitioner, with an interest in singing and creating music.

▲ For any questions about the contents and registration, please contact Hsi Yin (speaks Chinese and English):

Email: hsiyin724@gmail.com


PRICING

Full price 6250

Up to Tuesday August 5 only:
Early Bird / 10% off 5600
Resonance / Old students / TOSA members / poor struggling artist: 15% off 5300

After this date:
Full price 6250

Included:
Workbook with about 20 nokyo’s that you can take home to practise
This workbook will contain new nokyo’s so students who followed last year’s workshop can learn new nokyos if they would like to join again.
We’ll provide some basic tea, coffee and snacks. Feel free to bring your own.

Not included:
Lunch. There are several options nearby.

REGISTRATION and PAYMENT

1. Sign up through this form: https://form.jotform.com/242612129392353

2. Make a transfer within 3 days and contact Hsi-Yin via email (hsiyin724@gmail.com)

3. We will confirm with you within 5 working days that you have completed the registration!

Please make the transfer to: 

Bank code: 822.

Name of bank: China Trust

Beneficiary: Mark Christiaan van Tongeren

Account number: 163540306745

CANCELLATION POLICY


We try to keep prices reasonable. We will return 90% of the fee if you cancel 31 – 60 days prior to the workshop. We will return 50% of the fee if you cancel 30 – 15 days prior to the workshop. We will return 20% of the fee if you cancel within 14 days prior to the workshop. If you find a substitute for your place, we will only keep 10% of the administration fee.

QUESTIONS?

Get in touch with one of us!

The post Workshop Heart Sutra and Nokyo Reciting appeared first on Fusica.

 – – Photography: Ariel Tsai – –

IMPRO!

即興！

Catch the Spirit of the Moment

唱入當下

即興! 將經過考驗的即興演奏技巧與「即時作曲」相結合，這種方法讓一群荷蘭即興演奏家聞名全球。你的帶領者Mark van Tongeren是一位自學成才的即興表演者，對探索自我、自我表達和團體動態充滿著極具感染力的熱情。像任何優秀的小丑一樣，他並不幼稚或天真，而是讓成年人改變他們看待世界和自我的方式，創造出全新的聲音語言、新的溝通方式，乃至新的自我表達方式……直到你開始思索：那個「自我」究竟是什麼？

 — 感受

離開你的舒適圈

【時間】

11/27（週三）- 11/28（週四）

每天 10:00-17:15

【地點】

台北寶藏巖國際藝術村

臺北市中正區汀州路三段230巷底

寶藏巖聚落位於公館區，距離公館捷運站步行即可到達，地理位置十分便利。

【當日行程】

11月27日

10:00-12:30（2.5小時）
          投入! 第一次即興課程

          +反思! 探索即興作為一種存在與身心健康的方式

12:30-13:30（1小時）
          休息

13:30-16:00（2.5小時）
          我們使用的方法。遊戲、溝通、技巧
          應用和測試這些方法

16:00-16:15（15分鐘）
          休息

16:15-17:15（1小時）
          自由即興 #1 

11月28日

10:00-12:30（2.5小時）
          投入! 新的即興活動

        +反思!  一些答案，更多的問題，再次探索…

12:30-13:30（1小時）
          休息

13:30-16:00（2.5小時）
          磨練方法
          如何丟失自己並重新找回自我？
          新的遊戲與技巧
          關於存在、存有與身心健康

16:00-16:15（15分鐘）
          休息

16:15-17:15（1小時）
          即興 # ∞
          最終反思

活動舉辦方保有異動時間權利。

【工作坊詳細介紹】

2003年，Mark與Phil Dadson (NZ)、Makigami Koichi (JP)組成「人聲雜耍」（Vocal Acrobats）三人組到紐西蘭巡迴演出後，來到台灣。台北藝術大學的鍾明德教授給予Mark表演和工作坊的自由，並從Mark的想法中挑選了一句話來告訴他在台灣該做什麼： 「抓住當下的精神」（Catch the Spirit of the Moment）。這句話至今仍像當年一樣清晰。

如何活著、行動、創作，同時完全活在當下？如何什麼都不做，卻又什麼都做？如何學會相信某種流動會來到你的身邊，會穿過你的身體？如果根本沒有流動，而你計劃的一切都出錯了呢？因為你一開始就錯了嗎？或是因為其他人打亂了你對即興創作需要走向何處的想像？

訓練某些技巧是一回事，而且是很大的一回事。在這個兩天工作坊，我們會交替進行真正的即興創作，同時建立音樂和其他技能。了解即興是什麼和可以是什麼是另一件事。範圍幾乎是無限的。

我們將使用引人入勝的樂曲和結構，從有趣和娛樂性到挑戰性和複雜性。無論你擁有或缺乏什麼程度的經驗和信任，你都可以帶著許多新的想法和發現回家，發現當你完全沉浸在演奏中時，你還能成為什麼樣的人。讓我們認真玩樂！

【誰適合參加？】

任何人都可參加。只要你有足夠的好奇心和自信，去與他人一起唱歌、演奏、製造噪音或動作、跳舞、寫作、畫畫。

(最少 8 人，最多 16 人）

【語言】

英文以及中文即席翻譯

【帶領者介紹】

1992 年及整個 1990 年代，Mark van Tongeren 開始以音樂即興演奏家及物件劇場（object-theatre）創作者的身份演出。2000 年代，他轉向各種即興音樂，與 Fred Frith、Koichi Makigami、馬友友 和 Oorbeek 等人合作。2010 年代，他與更多舞蹈團體合作，也讓肢體表演在他自己的作品中扮演更重要的角色。到了 2020 年代，他的多元風格更加跨越音樂、文化和學科的邊界。在台灣，他是三人組合 ALLSYMT 的一員，與原住民、華人及國外藝術家合作演出，並領導他的聲樂實驗團體漪渦魚

(IUooUI)。他在台北每週舉辦的聲樂瑜珈課程，是一種有引導的、直覺的即興。

【支持團隊】

本次工作坊還由即席翻譯兼共同籌辦者者李紀辰協助，她負責聲音工作坊的翻譯，並受聲音的啟發，繼續探索相關領域；以及行政助理張惜音協辦，本身也是聲音療癒師，熱愛唱歌和創作音樂。

報名、詢問工作坊詳情，歡迎聯繫惜音 hsiyin724@gmail.com 

或直接透過手機聯繫Mark 0910382749

【報名費用】

全額費用：9500元

到10月20日

超早鳥優惠 / 75折：7125元 

學生；經濟方面需要支持的藝術家（需提供證明） / 75折：7125元

到11月6日

早鳥優惠 / 85折：8075元 

TOSA會員 / 年長者 85折：8075元

雙人報名 / 早鳥外加95折：7600元

舊生優惠 / 7折：6650元

11月6日之後

原價 / 9500元

雙人報名 / 95折：每人9025元

【報名方式】

1.請透過此連結報名

https://form.jotform.com/242682423145353

2.確認報名費用後，請在三天內進行學費匯款

3.匯款完成後，請聯絡

—————————————–

請以Line、Email 擇一聯繫惜音

—LINE ID: hsiyinchang

—-Email：hsiyin724@gmail.com

——————————————

4.經確認款項後，將在五天內發出報名確認信件，也會與您確認行程詳細事宜

【取消政策】
我們盡量保持合理的價格。如果您在課程開始前31至60天取消報名，我們將退還90%的費用。如果您在課程開始前15至30天取消報名，我們將退還50%的費用。如果您在課程開始前14天內取消報名，我們將退還20%的費用。如果您找人代替參加，我們只收取10%的行政費。

【責任歸屬】

報名此工作坊代表你了解:

1) 工作坊可能會有劇烈肢體運動，引起身體跟心理的衝擊。

2) 工作坊中的每項活動都不是強制性的，你必須衡量自身狀況(身體/心理/情緒)來決定要不要參與。

3) 你會對自己的身體及心理狀態負責，主辦方不承擔任何相關的傷害、損失及賠償責任。

PROGRAM IN SHORT

Impro! blends tried and tested techniques of improvisation with instant composing, a method that lent a group of Dutch improvisers worldwide fame. Your guide Mark van Tongeren is a self-taught improviser with a contagious passion for charting new territories of self-, self-expression and group dynamics. Like any good clown, he is not childish or naïve; he lets adults change the way they see the world and themselves, by creating new languages of sound, new ways of communicating, new ways of being yourself … until you wonder: what is that self? 

       feel 

Leave your comfort zone

DATES AND TIMES

Wednesday + Thursday November 27 + 28

10:00-17:15

11/27（週三）- 11/28（週四）

10:00-17:15

LOCATION

TREASURE HILL VILLAGE  

台北寶藏巖國際藝術村

Treasure Hill village is conveniently located in the Gongguan area in walking distance from the MRT Gongguan.

TIME SCHEDULE AND CONTENT

November 27

10:00-12:30

Dive! First improv sessions

Reflect! Explorations into improv as a mode of being and well-being

12:30-13:30   – – – break

13:30-16:00

Methods we use. Games, communications, skills.

Applying and testing methods.

16:00-16:15  – – – break

16:15-17:15

The Jam #1.

November 28

10:00-12:30

Dive! New improv sessions

Reflect! Some answers. Many more questions.

Dive again….

12:30-13:30   – – – break

13:30-16:00

Sharpening Methods. How to lose and find yourself again? 

New games and skills.

About modes of existence, being, well-being.

16:00-16:15   – – – break

16:15-17:15

Jam # ∞

Final reflections.

We keep the right to make changes to the time schedule.

FULL DESCRIPTION

Mark arrived on Taiwan’s shores in 2003, coming back from a tour in New Zealand as the Vocal Acrobats – a trio with Phil Dadson (NZ) and Makigami Koichi (JP). TNUA’s professor Chung Mingder gave Mark carte blanche for performances and workshops, and picked one phrase out of Mark’s ideas about what to do in Taiwan: “Catch the Spirit of the Moment”. That phrase still stands as clearly as it did back then. How to live, act, create while being completely in the present? How to do nothing, and yet everything? How to learn to trust that a certain flow will come to you, will move through you? What if there is no flow at all and everything you planned goes wrong? Because you started out wrong? Or because someone else messes up your imagination of where this improvisation needs to go?

Training certain skills is one thing, and a big one at that. We will alternate true improvisation with building musical and other skills. Understanding what improvising is and can be is another. The scope is virtually endless.

We will work with fascinating pieces and structures, ranging from fun and entertaining to challenging and complex. No matter what level of experience and trust you have / you lack, you will be able to go home with plenty of new ideas and discoveries of who else you can be when you indulge yourself completely in playing. Serious playing!

FOR WHOM?
Anyone who is curious and confident enough to sing or to play or to make noise or to move-dance-write-draw  with others.

(Minimum: 8, maximum:16 people)

LANGUAGES
English + Chinese  

YOUR TEACHER
In 1992 and throughout the 1990s, Mark van Tongeren began performing as a musical improviser and bricoleur in object-theatre. In the 2000s he switched to all kinds of musical improv, playing with the likes of Fred Frith, Koichi Makigami, Yo-Yo Ma and Oorbeek. The 2010s saw more dance collaborations and also a greater role for the performing body in his own work. In the 2020s, his polystylistic approach transcends musical, cultural and disciplinary borders ever more. In Taiwan, he is part of trio ALLSYMT, performs with indigenous, Chinese and foreign artists and leads his vocal experimental group IUooUI. His weekly Voice Yoga class in Taipei is a guided, intuitive improv-session of sorts.

SUPPORTING TEAM & CONTACT
This workshop is also brought to you by interpreter and co-organiser Chi Chen Lee, who interprets for sound workshops and is inspired by sound to continue the exploration; by administrative assistant Hsi-Yin Chang, who is also a sound and wellness practitioner, with an interest in singing and creating music.

▲ For any questions about the contents and registration, please contact Hsi Yin (speaks Chinese and English):

Email: hsiyin724@gmail.com
Line ID: hsiyinchang

or Mark: 0910382749

PRICES

Full price 9500

Up to Sunday October 20

Super Early Bird / 25% off 7125

Students & poor Struggling

artist (with proof) / 25% off 7125

Up to Wednesday November 6

Early Bird / 15% off 8075

TOSA members  & seniors / 15% off 8075

Bring a friend / 5% off each 7600

Old students / 30% off 6650

After November 6:

Full price 9500

Bring a friend / 5% off each 9025

REGISTRATION and PAYMENT

1. Sign up through this form: https://form.jotform.com/242612129392353
2. Make a transfer within 3 days and contact Hsi-Yin via email (hsiyin724@gmail.com)
3. We will confirm with you within 5 working days that you have completed the registration!

Make a transfer within  3 days to: 

Bank code: 822

Name of bank: China Trust

Beneficiary: Mark Christiaan van Tongeren

Account number: 163540306745 

CANCELLATION POLICY
We try to keep prices reasonable. we will return 90% of the fee if you cancel 31 – 60 days prior to the workshop.

We will return 50% of the fee if you cancel 30 – 15 days prior to the workshop.

We will return 20% of the fee if you cancel within 14 days prior to the workshop.

If you find a substitute for your spot, we will keep 10% of the administration fee.

DISCLAIMER

By signing up you automatically acknowledge your understanding that this workshop may involve potentially disrupting body-work and emotionally charged sessions with a deep impact on your well-being. It is understood that you yourself best know of any risks (physical, emotional, psychological) and that there is no pressure or obligation to do each and every exercise.

The post Workshop Improvise! Catch the Spirit of the Moment appeared first on Fusica.

The word Almanac for this book on sound words is well chosen by the initiator and editor, Bernd Herzogenrath since the entries differ a lot in length, in tone of voice, and in approach. For me it immediately brings to mind the somewhat haphazard nature of the Enkhuizer Almanak. Even a cursory look shows that the publishers (Bloomsbury Academic, mind you!) did not bother to do much editing. I did receive a request to check a word or phrase here and there, but while leafing through the final version now, I immediately and repeatedly stumble upon grammatical errors by contributors for whom English is not their first language, and other mistakes. Example: despite the fact that the almanac follows the alphabet, my own entry, ‘parafonie’, appears after the entries ‘patasurrealism’ and ‘pflotsch’. (Example 2: see photos).

I must say, I am honoured with this special non-alphabetical spot for my contribution; and I am also charmed by the uneven presentation: long and short entries, entries with and without photos, with and without bibliographic notes, some more or less objective and factual, others anecdotal, or highly personal. It is just very fitting for a Sound Word Almanac, which is neither dictionary, nor encyclopedia, and yet is designed to help Everyman navigate the world – in this case, through a list of typical and untypical sound words of foreign lands. The cover is brilliant and says it all: this is not your usual academic book, but some sort of historical relic. A special treasure of obscure knowledge that you cannot find anywhere else. I’d almost say: get it while you can, next year it may be outdated! But whether it’s worth the hefty price tag, is another question – this had better been an affordable artists’ book unless the publisher had done a proper academic-level editing job. Something for the long-term wishlist?

The post Sound Word Almanac Published appeared first on Fusica.

Join me this weekend for the first of three launch events of the book and album Overtone Singing. The first one will be most suitable for people on Asian time (Saturday 7 January  at 12 AM for Taipei/Hong Kong) and LA time (US) on Friday 6 January at 8 PM). The second one takes place in NYC (Saturday 14, evening) and Asia (Sunday 15, morning). A third launch in European time will happen on February 4.

I will look back on 30 years of research as a singer and musicologist, tell stories, sing some demos and pieces and there will be one or more special guests to say a word about this book or their own experiences in the field of overtone singing. There will be a short Q&A at the end too.

Please celebrate this occasion with me. We will braodcast on the Fusica YouTube channel. If you would like to receive a notice or subscribe to other notifications, write an email to Jane Tsai by clicking here:   jame79522@gmail.com.

All information about the book is here.

LAUNCH #1

WESTCOAST US

Friday January 6

20-21:30 LA time

=

Saturday January 7

12-13:30 TW/HK time

The FB event page

https://www.facebook.com/events/565031861852798/?ref=newsfeed

LAUNCH #2

EASTCOAST US

Saturday January 14

20-21:30 NY time

=

Sunday January 15

9-10:30 TW/HK time

The FB event page

https://www.facebook.com/events/1810308066007379/?ref=newsfeed

LAUNCH #3

EUROPE

Saturday February 4

13-14:30 C.E. TIME

=

Saturday February 4

20-21:30 TW/HK time

The FB event page

https://www.facebook.com/events/1187454068549532/?ref=newsfeed

Official worldwide release date: January 10.

Global distribution everywhere through The MIT Press / Penguin Random House.

Available NOW through Fusica and Terra Nova Press.

Book (pre)orders: Publisher Terra Nova

https://www.terranovapress.com/books/overtonesinging

Or as a package with the Anthology album:

https://markvantongeren.bandcamp.com/album/anthology-of-overtone-singing

The book in short:

The Overtone Singing Book

The post Book Launch 1, 2 & 3 appeared first on Fusica.

That was the signal to also let the Anthology of Overtone Singing go public. First of all on Bandcamp, where the audio is now available for streaming or purchasing. I also submitted all tracks to Apple Music, Spotify etc. etc. 25 Artists that are not featured on Apple Music and Spotify yet now will be represented there. It took me about a year of preparations and it meant not a small thing to press that ‘SUBMIT’ button to me.

So book and music are available now from Terra Nova Press, from me and next week also from a European address. We are still working out the best solution to offer the music and the book in one go. For the moment, the book is available through Terra Nova Press and by writing to me directly, while the Anthology is available in Bandcamp. Possibly we offer both in one package very soon.

There is a limited number of books available with a CD that is nearly identical with the streaming version from Bandcamp: just two tracks have been shortened a bit to fit onto the CD format. Details will soon be published on Bandcamp; you can also write to me if that is what you need.

The major platforms will  start selling and shipping the book in December or January.

For now, get it directly from one of us!

Book on Terra Nova Press:

https://www.terranovapress.com/books/overtonesinging

Book and/or Anthology Album on Bandcamp:

https://markvantongeren.bandcamp.com/album/anthology-of-overtone-singing

You will find more details about the book on this page.

The post Book and Audio Anthology published appeared first on Fusica.

Michael Vetter had a remarkable critical attitude towards a wide range of topics, traditions and disciplines. He knew exactly what he needed from them and was always able to state with great clarity how they related to each other and, if applicable, to his own work. Another feat is how he succeeded in developing a total vision for the many arts he practiced (fine arts, performing arts, and writing, to start with) and for spiritual and contemplative practises, primarily Christianity and Zen Buddhism. He knew both from inside out – and that is something not many composers or musicians could say. Most of them who claim Zen inspiration have flirted with it or studied it from a distance. Vetter lived the life of a monk several months a year for a decade, practising alongside Japanese monks and the occasional foreigner. He also studied theology for some years, which at the time (early 1960s) meant deep-reading of existential and other philosophical and psychological authors. Small wonder a large portion of his work is imbued with themes at the heart of the human experience. Often, in fact, he looked one or more levels deeper, beneath the surface, to find the roots of symbol, communication, emotion, illusion, aesthetic form, signs …

Michael Vetter making Indian ink drawings, Academia Capraia, Italy, 2009 (photo by Mark van Tongeren)

Some of Michael Vetter’s boxes with about two years worth of daily ink drawings, Das Buch der Zeichen. Photo by Mark van Tongeren

There is a lot of music out there that can touch me deeply, from the abstract (Morton Feldman’s Coptic Lights) to the popular (Stevie Wonder’s Black Man or As, which recently made me burst out in tears), from the dream-like and hallucinating (Biosphere’s Substrata) to the Romantic (Schubert/Müller’s Winterreise), etc .etc. And even though I know and do believe that quite a few of all those artists that I like have interesting ideas, I also know that many of them don’t necessarily have a vision that resonates deeply with me. The case with Vetter is different. He was someone whose works I often enjoyed or admired, but who also inspired me with his grand vision about, well, almost anything. I have deep respect for the way he could balance his own interests in the arts, in society, in spirituality and religion, and –not last but not least either – in everyday life. And then how he weaved all those themes together in a remarkably consistent and coherent whole, so that each part could always be linked in multiple ways to any other part. Many of us would at some point have to let others do the talking, for example when tough philosophical questions come up; or shy away from certain artistic challenges; or not quite know how our contemporary work relates to, say, late mediaeval painters; not so with Michael. He would always have an answer and keep you wondering about the next three questions. Which, of course, he would whole-heartedly welcome and answer too.

O yes, it is time I write up some of my ideas about him in a more substantial way – even if it were to see if I could emulate his ability to answer just a single tough question of some scope (I did try it, partly). The magnitude of his vision was simply too much to know where to begin during these past six years, but I consider it not yet too late to do so.

I still hear you, Michael Vetter!

Bonus video: Jetzt… Du (Now… You), from the 1986 Zen record series, played on the Japanese koto zither.

The post I still hear you! appeared first on Fusica.

I learned of Hai’s work on overtone singing in the early 1990s. When I got to know him personally, I was astounded and (I will admit) a bit intimidated by his unbridled energy. He loves to share what he does, and he is in fact overflowing with enthusiasm: for overtone singing, for Vietnamese music, for playing the Jew’s harp and spoons, for ethnomusicology, for his constant travels as a performer and teacher. After my visits I was usually exhilirated (about all the new things I had learned or shared with him) and at the same time exhausted (feeling my life was a mess with no progress at all).

In fact, going to Paris has been almost synonymous with visiting Hai and his lovely wife Bach Yen (whose singing carreer goes way way back). And these visits became almost synonymous with absolutely great Vietnamese food. Bach Yen often spent hours and hours to buy fine ingredients like all kinds of fresh leaves, vegetables, seafood and meat and prepare them the Vietnamese way. We would have excellent diners, drank nice wine, as the couple made an annual ‘pilgrimage’ to different regions in France to stock up on boxes of quality wine to share with friends at home.

After moving to Taiwan, my encounters with Tran Quang Hai were scarce, and visits to both of them even more. In 2019, it has been around ten years since we last met in Paris. So I was delighted to see them again some weeks ago. Tran Quang Hai retired a decade ago from the ethnomusicology department at the Musée de L’Homme in Paris, but has remained an active performer and workshop leader for all these years. Bach Yen is a famous singer of popular songs and entertainment music, as well as a singer of many different genres of traditional music. Together they have given hundreds of concerts in Europe and elsewhere, and they continue to do so. Here is a photo of their appearance in Genoa, Italy, a week or so after I met them.

Late August, when I walked down the platform of Gare de Lyon, Hai and Bach Yen were waiting for me. Once again I was overwhelmed to be in their buzzing, energetic presence. The first thing they did, was to get out their cameras and make many photos together. Then we strolled to their car, and their warm hands and arms embraced my arms. I sometimes think of myself as someone who easily touches people, but this time I thought I am quite distant compared to them. It was really (excusez le mot) touching to stroll down the platform chatting and to be ‘wrapped’ by their tender hands and arms on both sides. Hai told me once about using his hands to heal people and showed me some methods. But it seems the couple just radiates warmth and energy naturally, even without using a special method.

For our Vietnamese food, this time we drove to a place called Pho Bida, pronounced Fo Beeyaa. Pho is the famous Vietnamese noodle soup, but what about Bida? It turns out to be derived from ‘billiard’, as the former location of this restaurant housed a popular billiard room as well. The place is not very spacious but we were early and could chose any seat. By the time we left lots of people waited outside. The food was great and loved by Vietnamese and non-Vietnamese alike: highly recommended! (Pho Bida Vietnam, 36 rue Nationale, 75013 Paris)

Tran Quang Hai’s New Book

When we sat down, Hai gave me his new book, a thick volume with many of his articles and listst of all his achievements, titles, appearances, etc. organized in a single volume. Some articles I have known for a long time. So I particularly enjoyed reading those things I did not know in detail.

First, an article about Vietnamese music and its historical background, very helpful for understanding the relationship to Chinese music and culture. It also covers many of the recent developments in Vietnamese music, making it in effect a kind of encyclopaedic entry into Vietnam and all its music. With this work Hai most clearly follows in the footsteps of his late father Tran Van Khe, also a well-known musician and musicologist.

“Tran Quang Hai. 50 Years of Research in Vietnamese Traditional Music and Overtone Singing.”

Second, an article that accompanied a double CD issued in France in 1997, dedicated to the absolutely fascinating world of mountain tribe musics in Vietnam. There is a dazzling array of types of instruments and ways of playing, and these liner notes give a good overview of this field.

If you are interested in overtone singing and still love printed matter, as I do myself, then this is a good way to get your (physical) hands on several key articles on this technique by Dr. Tran Quang Hai and understand the background of his research. (Note for academic readers: for research purposes it is better to consult online pdfs of the articles in their original format). Available here.

Tran Quang Hai and the Dan Moi

During our lunch I also learned where the common name of the Vietnamese brass Jew’s harp comes from. It is usually referred to as dan moi, which is a Vietnamese word (compare for example dan tranh/đàn tranh, the plucked zither, or the unique one-string zither dan bau/đàn bầu). However, the thin, finely crafted Jew’s harp, probably smaller than any other type of Jew’s harp, originates from the mountain tribes who live close to Yunnan in South China. The Hmong’s native language and culture has little to do with that of the dominant Viet or Kinh ethnic group, who are historically tied to China. When travelling in the mountains in North Vietnam (around Sapa), I encountered the Hmong people who play this instrument and managed to get one made locally by their craftsmen. They referred to it as gya, phonetically speaking, though in writing it is referred to as djam. A personal note from Tran Quang Hai shortly after publishing this post: the Hmong name of the Jew’s harp is ncas (pronounced ncha).

The djam I bought in Sapa from girls who played the instrument along the mountain road. (photo by the author).

So I asked Hai how the name dan moi came about. He explained: there is no Jew’s harp in the music of the ethnic Vietnamese. So when he learned about the traditions of the mountain people around 50 years ago, he had to make up a new name himself in order to accommodate the minorities’ instrument in the system and language of Vietnam. To use ‘dan’ (meaning ‘instrument’) was an obvious beginning point. Hai decided to add ‘moi’ for lips, to designate it is played between the lips. Most brass or metal Jew’s harps are held against the teeth, with the lamella vibrating between the teeth; the dan moi is held between the lips and vibrates there. In this sense it is more like a type of wooden or bamboo Jew’s harp, particularly the ones vibrated by a string attached to one side.

A Hmong girl playing the djam for me in 2003 (photo by the author).

The dan moi went on to become a very popular instrument around the world once non-Vietnamese musicians discovered them, at the turn of the millenium. Many people asked me for it when I brought them back in 2003. I remember giving one to Tuvan throat singer Sainkho around 2004. She immediately fell for its bright sound and expressive qualities, and asked for more several times after (and so did other people). At the same time, a German company saw the potential of this cheap instrument to reach a huge audience and set up (web)shop, calling it www.danmoi.com. It has a become a one-stop shop to buy all kinds of Jew’s harps. So dan moi, Hai’s new name for the djham, a minority instrument, and for Jew’s harps in general, now has become sort of a symbol of 21^st century global Jew’s harp culture. And it seems to be growing year by year: here in Taiwan I have seen many new Jew’s harp enthusiasts taking the stages recently, often sporting a collection of world Jew’s harps, including, of course, the dan moi.

Here is a video where you see the movement of the dan moi lamella in slow motion, played by Hai’s student Dang Khai Nguyen.

Learn more about Tran Quang Hai

Hai is still actively teaching, find out where his next workshops are by going to his blog:

https://tranquanghaisworldthroatsinging.com

(the blog itself amounts to a ‘wikipedia’ of sorts for throat/overtone singing, where you will find a huge amount o copies of scientific and popular articles, videos, and indeed copies of wikipedia entries, as well as some original posts about Hai’s workshops and travels).

Go here to find more entries in English and in Vietnamese:

https://tranquanghai1944.com

https://tranvankhe-tranquanghai.com

And for more news from Fusica and Mark van Tongeren subscribe to these blogposts here.

Finally, back to some Asian flavour, but East-Asian instead of the South-East Asian of Hai’s origins. Here is a hilarious video from the time Hai was flown into Japan to demonstrate overtone/throat singing in a hypertheatrical popular entertainment program.

TRAN QUANG HAI on JAPANESE TELEVISION, part 2, December 26, 2012

* OK, for this one I have no way to tell if it is true, but Hai does mention in his new book (page  32) that he wrote “more than 500 articles in Vietnamese for 30 Vietnamese magazines in America, Europe, Asia and Australia.”

The post Catching up with Tran Quang Hai appeared first on Fusica.

You van find the Table of Contents here , a pdf of the entire journal here, and you can start the download if you want to have the issue on your own device here.
My own article about Maksim Dakpai’s throat singing is available for download here, and for online viewing here.

These are all 15 contributions:

Ethnomusicology
Issues of academic study and practical acquisition of Tuvan music (a case study of Tuvan instrumental music)
Suzukey, Valentina Yu.

What does Dakpai Maksim do when he sings sygyt? A preliminary investigation of one throat singer’s personal style
Van Tongeren, Mark

Nomads in the Global Soundscape: Negotiating Aesthetics in Post-Soviet Tuva’s Traditional Music Productions
Beahrs, Robert O.

From the sound of throat singing to the sounds of shamanic practice: Structural organisation of shamanic rituals in Tuva
Stelmaszyk, Malgorzata

Tuvan music and World Music
Chaposhnikov, Maxim V.

Tuvan music and its discography (principal names, titles, issues of description)
Abildsnes, Morten

“The khomus is my red deer on which I fly through the middle world” (Khomus in the shamanic practice of Tuva: Research issues)
Tadagawa, Leo

Social and cognitive functions of music based on the example of Tuvan throat singing
Hsu, Shen-Mou

Let me sing your songs: how Finns found xöömei
Heikkilä, Sauli

Tuvan music in schools in the United States
Quirk, Sean P.

The development of contemporary music culture of Tuva (a view from Japan)
Terada, Mao

The language of poetic texts in contemporary Tuvan pop songs
Saaya, Oyumaa M.

Psychological features of the professional activities of Tuvan musicians
Sandyi, Anna D.-B.

On the composition of modal structures of Tuvan traditional songs
Baranmaa, Ayasmaa D.-B.

The song folklore of Tozhu Tuvans: collection, publication, research
Tiron, Ekaterina L.

The post Special Journal on Tuvan music appeared first on Fusica.