Join the free online premiere of the overtone singing spectacle Incognito Ergo Sum by Superstringtrio, with the trio talking about ‘the making of’.

Register with the link on the following page: https://voice-resonance.com/events

Incognito ergo sum was part of the final presentations of the PhD research “Thresholds of the audible: about the multiphony of the body” by Mark van Tongeren.

Recorded March 12, 2013, Dokzaal, Amsterdam

Theatrical direction: Horst Rickels.

Light-performance: Daphne van Tongeren

Video director: René Louter

Sound recordist: Frerik de Jonge, Kleinman Audio

Thanks to: The Academy of Creative and Performing Arts of Leiden University

Frans de Ruiter †, Tim Soekkha

The Superstringtrio does not play strings, counts two permanent members and sustains a holy belief in illusions. Parallel to physicists, who try to uncover the laws underlying the subtle vibrations of invisible ‘matter’, the Superstringtrio digs into the hidden order and chaos of tones. It asks itself: Do we use music to see ourselves or does music use us to see itself?

Rollin Rachele ( www.overtonesinging.com) performs, teaches and composes music all over the world and is involved in many collaborative projects involving music and theatre. His specialisation is Overtone Singing which he has been perfecting since 1979. He finished a 4 year BMus programme studying Hindustani vocal music through Trinity Laban at Bharatiya Vidya Bhavan in London. He worked with Unstructured Light, a multi-disciplinary theatre group in the same city He has recorded several albums, and produced the first book for learning and perfecting overtone singing techniques, first in Dutch (1989, with + cassette), later published in English (1996, with CD) and updated and expanded with DVDs (2010).

Rollin also created the very first music video with overtone singing, accompanied by Celtic artist Kate McKenzie and Classical Indian vocalist Ustad Mohammed Sayeed Khan.

See our earlier post about the Superstringtrio and their performances here.

Photography by Cham Horn (below), Jochem Hartz (others).

The post Online Premiere of Superstringtrio’s overtone singing spectacle appeared first on Fusica.

Concerts, workshops and other upcoming events.

Details below

Friday October 9

14:30 CEST

Online Premiere of full performance Incognito Ergo Sum by the Superstringtrio.

Live with Mark van Tongeren and Rollin Rachele

Sunday December 13, 2026

10 AM – 5 PM.

Taipei, place tbc

Member Day, Taiwan Overtone Singing Association.

More about the association here.

More about some of our activities here.

Go to R E S O N A N C E   XI (11) – 2026-2027

Voice Yoga Winter Solstice Retreat 2026

Not found what you are looking for?

Tell us so we can help you.

The post Autumn Program 2026 appeared first on Fusica.

For decades I have known a technique of Western overtone singing that I heard perform only one time. Many singers use the technique on which it is based, which I call the L-technique, as their standard for singing overtones. But I suspect that this particular technique is unknown to most overtone singers. Since hearing the shimmering, glistening sound of this unique method, I practise it occasionally. Recently I notice it does not sound as clear as it used to, and so it is high time to share it with others, who then can also use it. I am now getting it back in shape again and will present this technique in a live performance as part of a longer piece, next month in my solo show In|nbalance in Potsdam. In this video I tell a bit more about it and show the technique.

I will give three workshops especially for Designing Voices in Potsdam about overtones and resonance stuffed with information and exercises about many overtone singing techniques, from various forms of Tibetan chant through Western techniques to Tuvan/Mongolian techniques.

So the technique has one clear characteristic that makes it stand out: it highlights two overtones while not sounding the overtone that is between them. This goes against the common wisdom of every practising overtone singer, which holds that you try to concentrate the sound energy in one clear, central overtone. With this little-known technique, it seems you sort of split this energy out again in two directions around one central overtone that you cannot hear. When normally you try to focus all energy on, say, overtone number 9, you now adjust your tongue so that the energy flows out to numbers 8 and 10, making both of them loud enough to be heard. A rather unusual procedure. Very characteristic is the combination of the seventh and the ninth overtones, leaving out number eight; and also nine combined with eleven (with number ten being inaudible). (For the microtonality / Just Intonation freaks and serious singers: more details about the overtone range at the bottom of this post)

For reasons I cannot fully fathom myself, I have never spoken to anybody about this technique: not with Michael Vetter, not with Borg Diem Groeneveld or with other overtone singers. Somehow it remained this special treasure all this time. It is possible others have heard it and know more: please drop me a line if you do. Since I do not know if Michael Vetter ever gave this technique a name, I need to come up with one. I usually think of it as the ‘parallel third technique’ but there can be a fourth in the low range and possibly seconds in the higher range. I find the parallel thirds the most striking element, however, so I prefer that name: the “parallel-third technique.”

Interesting detail: the storm created a special atmosphere in the church in Utrecht: this was also clearly palpable in the live broadcast itself. It was amplified by the storm we, listeners, heard at home, raging outside. This situation and the name Töne im Sturm is also very fitting for the theme of the In|nbalance program I am working on. Is it a coincidence that unusually strong winds are blowing around my place in Amsterdam for several days now, in September 2025, while I am working on this piece and this video? Every now and then the rain flies past my window almost horizontally. The wind produces ominous, low rumbles day and night; rustling sounds produced by thousands of leaves come and go in waves; and then there are the ‘ordinary’ sounds of wind, mid-range, between these high and low frequencies. Three stacked layers of sound. Just as in the parallel-third technique itself.

Michael Vetter with brezel (pretzel). Photo by Mark van Tongeren

The radio programme that featured Michael Vetter’s concert, baptised Töne im Sturm (‘Tones in the Storm’) by the singer, was De Wandelende Tak, which mostly featured traditional music from around the world, often original recordings by musicians, ethnomusicologists and other people with special knowledge of that tradition. I was a frequent guest myself in this program with recordings from Siberia, Mongolia, Kalmykia and other places. The overtone singing concert from Vetter was characteristic of the ambiguous status of overtone singing, because it is not traditional music, like the content of nearly all other episodes of De Wandelende Tak. The concert was organised by Diem Groeneveld, a long-time Dutch student of Michael Vetter and a fine overtone singer himself. Walter Slosse was the host who interviewed Groeneveld about Vetter before and after the concert, and it was broadcast by the VPRO.

This is my recording of the radio programme, made on a cassette and later transfered to the computer. There is a  silence towards the end for a short while, of which I am not sure at which stage it happened – probably during the A/D conversion.

After listening again, I conclude that Vetter’s technique was in an absolutely superb state at this point,

as can be heard  in all the ‘ordinary styles’of overtone singing. The parallel technique becomes clear particularly at around 12:45, and comes back several times later. 

Töne im Sturm.

Live radio broadcast for VPRO radio’s

De Wandelende Tak, mid-1990s.

Details about the range of overtones and their distances

For the overtone cogniscenti: the extremes on the recording of my own version are overtones ten and twelve, but I can go as high as twelve and fourteen, and as low as six and eight. Every time, the overtone in between them is not audible. Nearly all these combinations are variations of the interval of a third. The interesting thing is of course that every third is different, as the distance between the two tones grows smaller with every higher step on the harmonic scale. The H6 + H8 combination, my lowest combination, is a near-perfect fourth apart (497 cents, in case you were wondering), then next is the largest third H7 + H9 (a very large major third of 435 cents). The thirds progressively decrease their distance: the smallest and highest interval I could still sing clearly with this technique is a very small minor third of the overtones H12 + H14 (266 cents).

To hear this technique in its full splendour, come to Potsdam next month! And to learn more, I will give three workshops especially for Designing Voices in Potsdam about overtones and resonance stuffed with information and exercises about many overtone singing techniques, from various forms of Tibetan chant through Western techniques to Tuvan/Mongolian techniques. Check out all the details here.

For all workshop dates in Amsterdam/Potsdam/

Zürich/Vilnius/Ljubljana/Helsinki:

check my upcoming events page.

The post Töne im Sturm: Singing Parallel Overtones appeared first on Fusica.

Please note: If you buy / bought Le Rêve through Bandcamp, you use the Bandcamp download function to get your files. Outside Bandcamp (for example when you bought the physical CD), you can use the QR code to go to the Proton-cloud to get your files. If you encounter any problems, let us know and we’ll help you out.

The 1910 painting by Henri Rousseau which inspired Arnaud to write his new work

Recording in progress (photo: Sunny Chen)

 

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The post Out Now: Le Rêve Album appeared first on Fusica.

Trio Allsymt was to have its first performance under this name tomorrow, but something tragic and totally unexpected happened: our dear friend Arnaud Lechat  passed away on the morning of September 19 while being out for a walk. He inspired many of us with his playing, composing, organising, talking, thinking.  We won’t have our first concert as a trio under our new name. But Arnaud left us a website which he put together last weekend, looking back at how we,”Three Free Guys” played together, without the name Allsymt: https://allsymt.wordpress.com/.

Arnaud, come and listen tomorrow, we play in your honour. Bon voyage dans l’éternel, salut!

For the concert we found Lin Hsiao Feng willing to replace Arnaud.

***

In 2021 Taipei pianist Lee Shih-Yang formed a new trio with wind instrument / percussion player Arnaud Lechat and vocal performer Mark van Tongeren, playing frequently in the greater Taipei area. Independently of each other, Lee and Lechat had over a decade of collaborations with dancers behind them. Van Tongeren played and recorded in music-theatre projects in unusual acoustic and architectural settings since the 1990s.

From 2024, the trio Lee – Lechat – van Tongeren continues as ALLsymt, an acronym of the musicians’ initials.

For the exhibition 高美館30周年鉅獻 英國泰德現代美術館《CAPTURING THE MOMENT》 瞬間──穿越繪畫與攝影之旅 in the Kaohsiung Fine Arts Museum ALLsymt created new pieces. They use the museum lobby, the passage to the art works it holds, to interrogate the relationship between photography and painting, realism and simulacrum, makers and perceivers. They create a musical lens enabling visitors to “hear” a specific selection of paintings on exhibit, by questioning the complex relationships between acoustic event and situated, individual perception. Some of the techniques they use to achieve this effect are spatial projection of the sound by acoustic means, moving sound sources, and extremely slow and silent passages.

The paintings that feature in Allsymt’s interpretations are, in order of appearance:

Piece 1 Feeling the Space. Not based on painting

Piece 2 based on The Sea by Sugimoto

Piece 3 based on Motifs by Warhol

Piece 4 based on Face by Bacon

Piece 5 based on Aunt Marianne by Richter

Piece 6 based on A Sudden Gust of Wind by Jeff Wall

Piece 7 Interfering with space. Not based on painting

For more about the musicians you can check out the special Allsymt page. Their current project draws from their ecclectic range of muliti-disciplinary backgrounds and involves dancer Chan Ya-Chun. She recently graduated from the  University of Taipei department of dance and was first invited by Lechat for collaborative performances.  Currently, she is a freelance performer, dance art creator and performance art teacher. She likes to explore her own possibilities through experimentation and improvisation in dance art. At the same time, she continues to collaborate with different choreographers in Taiwan and abroad and takes the opportunity to dance and create in different places.

詹雅淳 Chan Ya Chun

臺中人，北漂青年。畢業於臺北市立大學舞蹈系。現為自由接案表演者、舞蹈藝術創作者、表演藝術老師，在舞蹈中喜歡實驗與嘗試各種可能性。

近期經歷為參與2024年臺北藝穗節共創作品《Lady W & Lady M》與2022年的《童話故事 人生事故》。於2023年獲得菁霖美國舞蹈節獎學金，同年與音樂家Arnaud Lechat 、Mark Van Tongeren共同演出《夢境》等等。

Lechat and van Tongeren have already collaborated with Zhan for the project Le Rêve, based on the painting of the same name by Henri Rousseau. A recording of that project’s music is due to be released in October 2024 and is available for pre-ordering on Bandcamp.

Le Rêve by Henri Rousseau (1910)

Album cover, Le Rêve by Lechat / van Tongeren  (2024)

Exhibition:

高美館30周年鉅獻 英國泰德現代美術館

《CAPTURING THE MOMENT》

瞬間──穿越繪畫與攝影之旅

in the Kaohsiung Fine Arts Museum.

The performance takes place on Friday evening, September 20 at 19:30.

ALLsymt

The post New Trio Allsymt to play in Kaohsiung appeared first on Fusica.

The 1910 painting by Henri Rousseau which inspired Arnaud to write his new work

Recording in progress

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During one of my concerts in Taucha, Germany, last month, I asked the audience who knows the name Michael Vetter. Several people raised their hands. But as I expected, many people at the Ancient Trance Festival don’t know his name. Of course, quite a few more may have heard his music in the Age of Spotify: you listen but don’t know what album is playing, now that a physical relationship to the medium (as in the time of LPs, CDs) is outdated. Besides, Ancient Trance is not exactly overlapping with Vetter’s artistic direction. He was much more avant-garde, with musical influences from Baroque to Dada and Fluxus, and a host of visual influences, from mediaeval religious painting and Chinese calligraphy to comics.

In the next few weeks O TRIOM is looking back at the life and work of the instrumentalist, vocalist, painter, poet, pedagogue and ordained Zen master Michael Vetter (1943-2013). We will be showing how his legacy continues to inspire, inform and transform our performing today in several concerts, a lecture and workshops. Why? Certainly not because Vetter was such a fine overtone singer. There are and have been many fine overtone singers, and Vetter’s style of singing and performing was one of many – not ‘just’ one of many, but a very influential one, to be sure. In the 1980s, anyone wanting to do something with overtone singing went to Vetter’s workshops and bought his albums, at least in very active German-speaking areas (and The Netherlands too). Vetter set certain standards for overtone singing, for a certain period of time, and those standards hardly changed.

Michael Vetter making Indian ink drawings, Academia Caparaia, Italy, 2009. (Photograph Mark van Tongeren under protection of Creative Commons CC BY-NC-ND)

The interest of O TRIOM in Vetter also started with overtone singing, but soon branched out in many other directions. For example: Vetter as a typical Zen Buddhist. He insists again and again that one should give undivided attention to what one is doing when making music (or anything else, though he would not talk about anything, but about art). And he applied this attitude in all his music, and all his other creative work, as well as his cooking and everyday life. When I read and re-read his texts, or when I go through the conversations we had and the interviews I did with him, I frequently stumble upon contradictions (literally: ‘counter-speaking’) concerning his spiritual or religious outlook. You may be looking to clarify his positions towards spiritual questions, and find that he has much to say about that. Many people felt he was a very religious person and his biography testifies to that. Certainly a believer! But then you will sooner or later find a remark in which he warns for overzealous religious interpretations. “Here and there one learns about the connection between overtones and Our Lord. That is far removed from me!” And yet, many of his art and music works bear very clear Christian (and not just Zen) elements.

It seems that it does not make sense. And that is exactly what we can take away from Michael Vetter (or maybe from Zen in general), and what keeps me coming back to him for fresh insights: there is no single, or final way to talk about or do anything. There are only temporarily, or partially ‘true’ or ‘convincing’ arguments to believe, or positions to take. As soon as one clings too much to certain truths, it is time to let it go again and look for yet another perspective .

In the weeks to come we will prepare ourselves with this in mind: try as best as you can to follow certain aesthetic and creative paths, and be always willing to throw them overboard again and replace them with something new. I am excited about this moment in our O TRIOM collaboration, which began in early 2022, if I remember well. And I salute the brilliant artist who bridged so many visions and visuals, sounds and musics, thoughts and dreams in a lifetime bursting with creative output.

Read an earlier post about why we should remember Michael Vetter here.

PROGRAM

FOR CONCERT TICKETS

CLICK HERE

O TRIOM Artists

LEE Wei Lin

LU Qi Chung

Mark van Tongeren

Production

Organizer| Taiwan Overtone Singing Association TOSA
Executive Producer  | Lee Chichen
Visual Design  | Bai Chi Hao
Image source | Michael Vetter

Lecture| prof. CHUNG Mingder

Taiwan Overtone Singing Association is also on Facebook.

Photos from a 2014 concert by O TRIOM

O TRIOM 紀念米歇爾·費特大師 系列泛音講座、工作坊暨音樂會

與談者將說談泛音音樂在台灣發展的故事，從當年北藝大邀請國外泛音音樂家來台傳藝及演出，到《OM泛唱作為藝乘》一書的誕生，泛音藝術家米歇爾・費特大師的生平創作故事，及至往後泛音音樂在台灣生根2022年台灣泛音詠唱協會TOSA的成立。

＊同場放映呂啓仲拍攝之泛音藝術家費特大師來台紀錄片《Transverbal穿越語言的相遇》。

｜工作坊內容｜

介紹「泛音唱法」，引領學員如何唱和體驗泛音，藉由唱出和聽到泛音，踏上精神的探險之旅。

點此報名工作坊＆講座

O TRIOM 米歇爾‧費特大師 紀念音樂會

時間：

2023/10/21  六 19:00

2023/10/22 日  14:00

地點：

夢響廳 Dreamphony Hall

新北市蘆洲區光榮路97巷59號

**捷運蘆洲站步行約5分鐘**

演出者：Mark van Tongeren．呂啓仲．李維琳

 音樂會購票點此 

O TRIOM 演出者

製作團隊

主辦單位| |台灣泛音詠唱協會

執行製作  | 李紀辰

視覺設計 |  白濟豪

圖片來源 | Michael Vetter

講座講者| 鍾明德教授

台灣泛音詠唱協會Facebook

Read an earlier post about why we should remember Michael Vetter here.

The post O TRIOM remembers Michael Vetter appeared first on Fusica.

This album marks the official ending of a long period of doubt and uncertainty what to do with my music in light of the music industry. Basically, I have been slow, very slow, to catch on with the possibilities of the internet, and apparently refused to make up my mind. The first signs of dealing with it has been to launch some videos on YouTube, including a live concert with Sinan Art. Now, here is my next step: the first physical release of new music made just by myself in some twenty years (besides collaborative projects such as Oorbeek, Parafonia, the Superstringtrio and ad hoc projects such as the Odna soundtrack). I have about a dozen of other releases in the pipeline, partly new, partly old, some of it by me but mostly collaborations, spanning many kinds of music and sound-art.

I had some ideas for the design, starting from the excellent photography of Yi-Jin Hsieh. I decided to use one of her photos and then to turn everything upside down/inside out, with a nod to Chinese writing, which used to be vertical and starts where our Indo-European-language book(let)s normally end, folding open to the right instead of left. So the Chinese cover of the printed album is intentionally the negative and upside down version of the English cover. UN-intentionally the title of track 2 (a kargyraa solo in Tuvan style) somewhat related to this turning around of things, as you see here (I only realised this when I took the photo):

JiJi Liu quickly  jumped in to turn my design ideas into proper InDesign-shape that printers need, took care of many details, and suggested to use cardboard instead of a digipack, a great improvement. Our CD agent, named Rush Blood, was not trying to push for a quick and easy fix, he also loves all these details. He does photography, calligraphy and together we went to check the first test plates as they rolled off the presses. The smells and sounds brought me back to my childhood when I joined my dad, the architect, to fetch all kinds of print-work. I inherited a great love of paper, carton, printing, binding etc. etc. from him and truly enjoy getting back to publishing something palpable and beautiful.

Buy It Now

The post New album Travel to the Moon appeared first on Fusica.

The name UIooUI stands for the mantra-and sutra-like phrases that we often use, inspired by the okyo of Michael Vetter (1943-2013). Michael transformed these traditional Japanese sutras to expand his own musical language, and this has become part of my own language now. IuooUI also stands for:

Of course, the syllables i-u-o-o-u-i  make a small overtone piece in themselves.

The name was proposed by our in-house poet, Amang, whose Chinese name is Yü, which is the last part of IUooUI when it is pronounced as a three-character Mandarin syllabe, yiwoyu.

Our in-house designer JiJi Liu created the logo for us.

The name TWEAKS refers to the process of tweaking, adjusting, making things better by smaller or sometimes bigger changes. It is my hope that next week we can really tweak all the musical elements so that they keep on growing, changing and move towards a more refined shape. This week, at least, some of us were still busy tweaking, like JiJi and Sky, who came up with this after the dress rehearsal:

It has been inspiring to see how busy all members got in recent months to prepare for this first complete performance. They have been working diligently on their sounds and pieces, of which more than half is composed by themselves in smaller units. They took care of sound and light, finding equipment and personnel to handle it, costumes …

Earlier this year we have done some smaller performance, to warm up, and as teasers for our bigger program.

DATES and TIMES

Sunday August 21 – 19:30

Wednesday August 24 – 19:30

Friday August 26 – 15:00 and 19:30

Sunday August 28 – 19:30

The performances will be held at VENUE, on its 5F space, No. 10, Lane 107, Linsen North Road. This is a bustling area and if you have the time, you can have diner before at a nice Japanese restaurant, Umeko, right next door to VENUE  (no. 8)!

Limited 20% discounted tickets available, please write to: iuooui.taiwan@gmail.com
to secure your seat. Tickets: https://www.opentix.life/event/1536284030369976325

Our Facebook and IG:

www.facebook.com/iuooui.taiwan

https://www.instagram.com/_iuooui/

The post Introducing: IUooUI appeared first on Fusica.

TOSA members performing on January 1 at Mei Garden Restaurant, Taipei

In the end it was Sunny Chen who has done endless amounts of paperwork to have the first small meeting of founders last December. My heartfelt thanks to her and all those who signed up as founders. The next step is to go public, and this will happen right after Chinese New Year, on February 19. On that day our chairman Sky Tseng will tell more about bigger and smaller events we are going to host every year; about a practising group to brush up your overtone singing and chanting; about concerts we will jointly attend or important books and pieces or CDs we will discuss. Professor Chung Minder, or taimu as he is known to many, will look back to twenty years of overtone singing in Taiwan, and perhaps look forward too. My old friends, and long-time overtone singing lovers (and love-couple in the first place) Wei-Lin and Qi-Chung will do a presentation, and so do I: this serves as the upbeat to a full concert we are preparing for later this year.

To make all of this happen, we need to reach a minimum of 45 members by January 28 (and not by February 19, as we thought before). We hope you will consider to sign up this month and give our association a flying start. A little extra support at this point is much needed since only a small inner circle of people knows about this initiative. Once we get started in February we can reach out to more people.

TOSA founding meeting no. 1, 12/12/2021

2021 年 12 月 12 日，我們著手成立 TOSA，即「台灣泛音詠唱協會」（Taiwan Overtone Singing Association）。協會將在 2 月 19 日舉辦一場盛大活動，在一個美麗的新空間舉辦音樂會和講座，作為協會對外公開的開端。我想在此邀請你一同加入，成為協會成員。我長久以來都夢想能在泛唱領域為自己和其他藝術家創建更實際的平台。但由於中文讀寫能力有限，我遲遲無法實現這個願望。直到我身邊的合作夥伴 Sunny Chen 和 Jackal Mei 開始詢問我相關的想法，並提出發展組織及舉辦大型活動的建議，我的心願才開始逐步實踐。目前為止已經有不少人學習泛唱，可能是跟我學習，也可能是跟台灣或國外的老師學習（通常來自內蒙古或圖瓦）。近年來，有好幾位技術純熟的表演者和泛音愛好者，他們的技巧與日俱進。我在泛唱方面的工作往往是獨立進行，但我認為是時候幫助更多有志專精泛音詠唱的人發光發熱了！同時我也想與更多人分享泛唱各種形式的美，涵蓋藝術、療癒、傳統、現代等各個層面。

更多關於 2 月活動和 TOSA 計劃的訊息都可以在這裡找到。請註冊並成為會員！根據規定，我們需要在 2 月 19 日之前招募足夠的會員，所以如果可以，請現在（或在 1 月底前）點選連結，協助我們推動計劃。非常感謝你！

最後是 Sunny 做了大量文書工作，在去年 12 月召開了第一次小型的發起人會議。我衷心感謝 Sunny 和所有登記的發起人。協會的下一步是對外公開，時間將是農曆年後的 2 月 19 日。那一天，理事長 Sky Tseng 將詳細介紹協會大小年度活動、一起精進泛唱技巧的練唱小組、成員共同參與的音樂會、還有我們列入討論項目的重要書籍、作品和專輯。鍾明德教授（也就是大家熟知的大木老師）則會回顧台灣 20 年的泛音詠唱史。另外一個重頭戲是泛唱圈的佳偶啟仲和維琳的泛音雙重唱，他們是我的老朋友，也是資深的泛音愛好者。我自己也會有一段泛音獨唱，這兩段演出將為今年籌備中的正式音樂會開啟序幕。

為了實現這一切，我們需要在 1 月底前招募至少 45 名會員（不是之前以為的 2 月 19 日）。所以我們希望大家能在這個月註冊，讓協會能有一個好的開始。這方面我們非常需要一些額外的支持，因為目前只有少部分人知道這個計畫。一旦在 2 月正式對外公開，我們就能觸及更多人了。

時間: 2022年2月19日，14:00-16:00

地點: 好好說話工作坊,

         台北市中山區明水路575號B1

https://goo.gl/maps/tjjuF6zGF9vqGYmV8

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精彩分享包括:

1. 鍾明德教授分享〈泛音在台灣的歷史〉 

     (鍾明德教授為《OM:泛音詠唱作為藝乘》作者)

2. Mark van Tongeren， 泛音獨唱 

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