Overtone Singing

Le Rêve Album Announcement

It is time to round up some support for our next album project. Below you can red how to suport our album, but first some more on the genesis of this music and dance piece. Over the last 12 months or so I played quite a few iterations of Arnaud Lechat’s wonderful cycle of compositions called Le Rêve, based on the painting by Henri Rousseau. Arnaud recorded his own parts for flutes, percussion and voice on one afternoon, a year ago or so. He send me the tracks and soon after I came over to play parts on voice, flutes, mouth-harps and effects, the way he had it in mind. It fitted seamlessly so we did several performances with a dancer. Each time it was different. Some things got better, some things failed or were less interesting. Each time we had Zhan Yachun dancing with us.
The new challenge was to play the music without her dancing. We tried several times. Each time it was different, very different. But the shape became sharp. This year on Fools’ Day, we committed our audio-only version to the recording machine of French recording expert Yannick Dauby. The result was beyond our expectation. We are really excited to put this album into the world: for musicians this is always a special process and event. And not without obstacles. I have had long discussions with Arnaud about the question: to print or not to print? Fewer and fewer people have CD players. Even the car, which was the last bulwark of CD players for many people, is changing to audio and video streaming now. For decades – what I say? – for a hundred or more years, selling records was a means of generating an income for musicians.

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

With that epoch coming to an end, one of the ‘traditional’ ways for a musician or record label to recuperate the cost of recording, desiging, printing, distributing and promoting an album is challenging. For 20 years or so we enjoyed the ability to record cheaper, in high quality, and produce small print-runs of CDs. But now physical things are harder to sell. Arnaud tried making an album with a beautiful booklet with poems and art work and a download code – no CD inside. It did not work: buyers still wanted a CD, not just the booklet with download code. But as time goes on, even our CDs are selling fewer and fewer at concerts.
And yet, being musicians, produce we must. The physical CD, a digipack or something similar in carton, without booklet, is taking shape (see the top of the message to get an impression of where the design is going at the moment).
Watch an excerpt from one of the live performances we did of this album, when it was still primarily a music & dance performance (which it also will be: we will do sections of Le Rêve in an entirely new setting in the Kaohsiung Museum of Fine Arts in september).

I will spare you the details of why and how we came to the conclusion to put out a physical album in 2024. You can read that in my newsletter if you like (sign up if you like). Here is how you can support us, in order of urgency (most urgent support comes first):
1. Pre-order the album in the making from us, so that we can get part of the production cost together instead of investing our savings. Pay to my bank account or Paypal (see below).

2. Pre-order the album when we (Arnaud and Mark) put it on our Bandcamp pages. Bandcamp is a fantastic medium which pays a very large share to musicians. Compared to Apple Music, Spotify and YouTube it is a musician’s heaven, and a place where fans can express their interest in a very concrete way. Bandcamp is right when it claims that “artists receive 80-85% of every dollar a fan spends” and they pay very soon too, not after 6 or 12 months.

3. Buy the album when it is out, from us or from Bandcamp, or at a concert. You might never play the actual CD, we know, but you can get a download code and we can plan our next album, because people like you bought this one!


One last option: if there hides a philantrope in you, if you like to support the arts and other causes, and if you can easily spend some more, consider to pay more than just the album price. Basically, this is like tipping a waiter, or even sponsoring a project. Bandcamp too has this function to pay more than the set price, and in the last two years I noticed every once in a while fans do indeed pay extra! Every bit counts and the gesture itself is already very encouraging. If you pay more than the album price we have more chances to do more promotion, put out more albums, etc. If you want to support in a more substantial way and are interested in return-favors (a dedication in the album sleeve, a concert at home, etc.), please let us know by sending an email.


Pre-order Le Rêve now!

1. Make your choice:

CD with download code € 15,- + worldwide shipping € 10,- = € 25,-

CD with download code € 15,- + europe shipping € 7,- = € 22,-

CD with download code € 15,- + Netherlands shipping € 5,- = € 20,-

CD with download code NT$ 500,- + Taiwan shipping NT$ 80,- = NT$ 580

Ask us for special rates, for example sending to Japan from Taiwan.

2. Choose a payment method:

A. by bank:

M.C. van Tongeren

BIC/Swfit code: ASN BNL21

IBAN: NL50 ASNB0708027512


B. by Paypal: use paypals@fusica.nl

 3. Let us know you ordered / paid:

Return this newsletter to mark@fusica and cc to Hsi-Yin (hsiyin724@gmail.com) with ‘DreamOrder’ in the subject header or title. Make sure to leave your name + full address + phone (optional) and also let us know your banking name / last 3 digits (for Taiwan).

4. In the planned release month September or October we will send you the album as soon as it is out!

Recording in progress

Autumn-Winter Program 2024-2025

Concerts, workshops and other upcoming events.

Details below



Weekly Voice Yoga classes will resume again in September in Taipei. Get on the LINE list to be up to date about dates, changes and other notices.



九月20日晚上|September 20, evening

高雄美術館音樂會|Concert in Kaohsiung Museum of Fine Arts

with trio aLLsymT

Pianist Lee Shih-Yang, clarinet, flute and frame drum player Arnaud Lechat (FR)

and Mark van Tongeren (NL) continue from now on as trio aLLsymT.



九月22-25日(週日至週三)|September 22 – 25 (Sunday – Wednesday)

聲音的海洋工作坊|Ocean of Voices with the Bunun

Without question a highlight for those who take part in it. Details:




十月6日(週日)| October 6 (Sunday)

Nokyo 唱誦週末一日工作坊 Nokyo Chanting 1 day (Weekend)

Mark’s groundbreaking work, expanding daily, in contemporary reciting,

chanting, singing of texts, prayers, mantra’s and sutra’s beyond meaning.

Sunday 6 and Monday 7 is the same workshop introducing nokyos.

Details coming soon.



星期日(6日)和星期一(7日)將舉辦同樣的工作坊,介紹 Nokyos。



十月7日(週ㄧ)| October 7 (Monday)

Nokyo 唱誦週間一日工作坊Nokyo Chanting 1 day (weekday)

Sunday 6 and Monday 7 is the same workshop introducing nokyos.

Details coming soon.

星期日(6日)和星期一(7日)將舉辦同樣的工作坊,介紹 Nokyos。



十一月22-24日|November 22-24


Conference of the ICTM Study Group for Indigenous Music and Dance Conference

嘉義,台灣|Chiayi, Taiwan

More info on the Study Group website.



十一月22-24日|November 22-24


Taiwan International Jew’s Harp Music Festival, Miaoli



十月27-28日(週三、週四)|Wednesday 27 + Thursday 28 November

唱入當下Catch the Spirit of the Moment          

The ever amazing improv workshop is back! This time on weekdays to enable busy performers to sharpen their skills outside the weekend hours.

Details coming soon.





December 21 – 24 |12月21-24日

Voice Yoga Winter Retreat  聲音瑜伽:冬至療癒假期

The. Classic. Retreat.


 >>>> Learn more/活動詳細資訊 <<<<<<

Read all about it here.




聲音的共鳴 年度團體 第一部分R E S O N A N C E   YEARGROUP  PART  I

一月2-5日 (週四 – 週日)Thursday January 2- Sunday 5 2025


聲音的共鳴 年度團體 第二部分R E S O N A N C E   YEARGROUP  PART  II

三月6-9日 (週四 – 週日Thursday March 6 – Sunday March 9 2025

The finest and most complete in-person introduction to overtone singing and overall

resonance of voice, mind and body, running as an 8 day course for over ten years.



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Discovering Lin Shuen-Long’s PEI

Early Summer IUooUI was invited to sing for the opening of a new Art Museum in Yingge. A beautiful backdrop for our concert, so we gladly accepted and prepared a special program, since it would be an outdoor stage. Upon arrival on a sunny Saturday morning, it turned out that the museum did not show its beautiful surface, but was clad in scaffolding; it also turned out that the backdrop of our designated spot was not the museum at all, but the main stage for the bands that would be featured later; and if that was not enough, contractors were still busy doing construction work using noisy drills. For us, the performance was a disaster, though some listeners had milder opinions.


Upon arrival I had noticed a fascinating adobe-colored tower on the grasslands surrounding the museum. I had had a quick look and listen but was most eager to explore it more indepth and invited my singers to join me after the concert. It turned out to be a splendid work of art, of architecture, or something in between. A sonorous temple graced with the most intricate light patterns I have ever seen on adobe-like structures (earthy hues have been my favorite at least since the beginning of this millennium). These shifting light rays are the result of several horizontal slits placed in irregular intervals along the body of the tower. We stood in awe, listened in awe, walked around in awe. Notwithstanding the presence of a few other visitors, we began quite naturally to emit our first tones. The resulting resonance was as soft and layered as the plastered walls, which had uneven, undulating surfaces that still showed the signs of paintbrushes. Our voices bounced off the walls in a pleasant, smooth way, not as crystal-like and pure as glass-covered structures, but with a coarser grain of sound.



Walking around, you would hear your own sound, or someone else’s suddenly shifting from one direction to a totally different direction. Or even enveloping you from all sides. It is a familiar but surreal phenomenon in many round, resonant spaces with the wall or ceiling curving inward. In certain spots someone who is standing opposite you talking or singing, sounds as if she is behind you.

I knew already during the first glimpse: this is the kind of place I have been looking for in Taiwan for more than ten years. As time passed I knew I had to temper my expectations. There were occasional resonant places, like the one I had stept into earlier this year, but those were usually not very suitable for performing, or not very pleasant to be in, or too expensive or too inaccessible. This new tower was in fact many times better than what I had ever expected. It was not just a sonic treasure, which I somehow usually imagined to be a white or grey space, or otherwise colourless. This was the most intimate, warm, lush light I had seen in years, if I had ever been in such a building at all. It simply seemed to breath by itself already.

We did some more research and learnt to our astonishment that this treasure was not part of the newly opened museum, but it had been standing there for 14 years. Some months later, Sunny noticed an announcement of an event in the tower with the architect, the next day: the day when IUooUI rehearses! I quickly jotted down a simple idea we could sing and shared it. We rehearsed it in the morning and set out to the museum. Exactly at the designated time, the architect appeared from a hidden door, as if coming from nowhere. In the center of the spiraling form he began to talk casually about the history of his tower, its symbolism, problems he had overcome, adaptations to the original idea and more. The place came alive even stronger with these stories. Pei, as the tower is called, really was opened 14 years ago and virtually nothing happened with it, to the chagrin of the architect, Lin Shuen Long.

During the Q&A we introduced ourselves and asked if we could sing a piece to honour the architect and his creation. We spread out and sang Pi:Ecce (I thought the name of the tower was Pi, not Pei). I then started an improvised piece which IUooUI completed beautifully with several solo parts. The architect was enthusiastic about our musical performances and told me something that moved me to the core: “this tower has been waiting for you for fourteen years”.



This place is a treasure, a multi-faceted gem of a building. Not designed with a 3-D program, but by bare hands with mud or clay, just like all that amazing pottery that the small town of Yingge is famous for. Some pottery shops in Yingge have a history of 500 years behind them, and took their technology with them from the mainland. There is no more suitable architectural tribute to the town then a tower designed like most pottery is designed: from an ancient, artisanal practise. We can be greatful to the decisions-makers who planned to build something like this, for chosing this architect, and for both parties to overcome all the hurdles necessary to complete the project. And what is 14 years in the light of generations of pottery making? Now let’s hope steps are taken soon to celebrate the incredible potential of this tower, both visually and acoustically!

Our more or less failed outdoor performance on that early Summer day happened for a good reason. I feel blessed that we ran into something so special.

O TRIOM remembers Michael Vetter


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.





Lecture Transverbal

Time: 6th October (Friday) 2023, 19:00-21:30

Location: Guling Street Avant-garde Theatre, 2rd floor

Speaker: prof. CHUNG Mingder (Department of Theatre Arts, TNUA), Mark van Tongeren, LU Qi Chung, LEE Wei Lin


Workshop Michael Vetter’s Overtone Singing Methods

Time: 13th October (Friday) 2023, 10:00-17:00

Location: Guling Street Avant-garde Theatre, 3rd floor

Facilitator: LU Qi Chung, LEE Wei Lin


Workshop OKYO

Time: 17th October (Tuesday) 2023, 10:00-17:00

Location: Guling Street Avant-garde Theatre 3rd floor

Facilitator: Mark van Tongeren


Overtone Singing Concert for Michael Vetter

21st October (Saturday) 2023, 19:00

22nd October (Sunday) 2023, 14:00

Location: Dreamphony Hall (No. 59, Lane 97, Guangrong Rd, Luzhou District, New Taipei City, Taiwan 247)





O TRIOM Artists

LEE Wei Lin

LU Qi Chung

Mark van Tongeren


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



時間 2023/10/6(五) 19:00-21:30

地點 牯嶺街小劇場二樓藝文空間

講者 鍾明德教授(北藝大戲劇系)、Mark van Tongeren、呂啓仲、李維琳







時間 2023/10/13(五) 10:00-17:00

地點 牯嶺街小劇場三樓排練場

講師 呂啓仲、李維琳







時間 2023/10/17(二) 10:00-17:00

地點 牯嶺街小劇場三樓排練場

講師 Mark van Tongeren


本工作坊將概述 Michael Vetter 的創作生涯,觀察他的作品中音樂/聲音和禪宗幾個主題,以及 20 世紀 90 年代及之後歐洲對禪宗日益增長的興趣如何與費特的作品呼應,以及他如何自由地採用“okyo”並對其進行改造。並一起唱送費特的okyo以及馬克本身創作的365則向費特致敬的 okyo。


O TRIOM 米歇爾‧費特大師 紀念音樂會



2023/10/21  六 19:00

2023/10/22 日  14:00



夢響廳 Dreamphony Hall



演出者:Mark van Tongeren.呂啓仲.李維琳




OKYO詩文唱誦,極簡而留白,這是泛音音樂傳承的其一精神支脈。本演出亦是對開創性的德國藝術家、作家、教育家米歇爾·費特(Michael Vetter,1943-2013)的生平及創作致敬,他將所有作品的總體概念命名為《Transverbal》—穿越言語。






Mark van Tongeren 馬克・范・湯可鄰


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





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


R E S O N A N C E 2 0 2 3 ⎜ Overtone Singing Intensive

March 18-21, May 20-23,  2023

RESONANCE – Overtone Singing Intensive

聲音的共鳴  泛音詠唱密集課程

Scroll down for English


Learn overtone singing and unravel your vocal creativity with Mark van Tongeren


Sound as a path for self-discovery










[單元一] 初階泛音詠唱工作坊
探索外在聲音到內在聲音 – 找到力量、玩出創造力
4天的時間 來探索、開發、學習、創造 外在聲音 – 內在聲音
  • 聲音瑜珈的修習
  • 透過活動練習去除舊有關於音樂與聲音的學習
  • 淨化耳朵&擴展你的聽力
  • 沒有設限的聲音/歌唱圈,重新發現你的身體所知道但過去所沒有覺察的
  • 聲音與振動作為進入自己的工具
  • 了解泛音—聲音的DNA,跟每種聲音的DNA玩出你的創造力
  • 泛音與療癒
  • 平衡內在的聲音 < — > 外在的聲音
[單元二] 進階泛音詠唱工作坊
  • 呼吸、氣與動作
  • 將單元(一)的概念與練習帶回生活中並一起回顧個人的發展
  • 創造良好聲音共振、身體頭腦的平衡以及泛音歌唱的技巧
  • 靈性修習與聲音 – 基督教
  • 靈性修習與聲音 – 佛教
  • 靈性修習與聲音:更古老的與更近代的
  • 創造新的靈性修習與聲音
  • 聲音與自我科學的精華

單元一:2023/3/18~21 [週四~週日]
單元二:2023/5/20~23 [週六~週二]


早課 AM 09:30-12:30
午課 PM 14:30-16:30
晚課 PM 17:00-18:00



花蓮光復 夏比安民宿





【開課人數】: 最少9人,最多15人(3/10前人數不滿9人,將延期課程時間)

【語言】: 英文+中文(全程翻譯)

【參加條件】: 不需要任何音樂相關經驗均可參加。曾經上過一個或更多次泛音工作坊的學員,也會學習到新的東西。如果你有所遲疑需要幫助,歡迎直接與我們聯繫!



泛音詠唱協會會員 / 舊生價:45,000元


#以上優惠2 /10前報名匯款完畢



泛音詠唱協會會員 / 舊生價:26,000元


#以上優惠2 /10前報名匯款完畢


舊生價(一年以上聲音瑜珈舊生, 共鳴、聲音旅程: 總共參加達5個整天時數的學員)





* 交通

備註:住宿房型由學員報名順序、人數優先挑選,詳情請直接聯繫主辦人 Jackal



*聯絡人:Jackal Mei–  jackallala@gmail.com / line ID:jackallala /+886 936596910







帶領者: Mark Van Tongeren

翻譯: Sunny Chen

活動規劃/攝影: Jackal Mei—

【好奇嗎?詢問/報名/房型登記 請來電或來信了解詳情  】

Jackal Mei


line ID: jackallala







Mark van Tongeren,中文名:德蘇,荷蘭籍國際聲音藝術家,民族音樂學碩士、表演藝術博士,曾與大提琴家馬友友同台演出,也與台灣的表演藝術團隊持續合作,25年來以泛音演唱家、聲音研究者的身份走訪全世界,與各地專家交流學習。
1990 開始探索泛音歌唱跟實驗性聲音表演(包含人聲、自製樂器等等),曾以獨唱表演巡演了:荷蘭、俄羅斯、西班牙、芬蘭、德國、紐
1995 在圖瓦國際喉唱音樂節得到特別獎
2000 以客座講師的身份受聘於紐西蘭的Victoria University in Wellington音樂學院,以及國立台北藝術大學。
2002 在Smithsonian Folklife Festival發表他10年泛音著作: Overtone Singing – Physics and Metaphysics of Harmonics in East
and West,這是同類型著作中最盛重的發表場合。在藝術季期間,也和馬友友同台演出,以喉唱即興結合馬友友的巴哈大提琴
2003以喉唱專業及專長重建電影Odna(1931)的曲譜。也因而參與了俄羅斯作曲家Dimitri Shoshtakovich (1906-1975)作品的世界首演。
2013 定居台灣, 開始了一系列聲音瑜珈、泛音、聲音旅程課程的教學
2016 聲音旅程:圖瓦,帶領圖瓦喉唱為主題的文化觀光團到圖瓦共和國。
2019 開始在花東開辦聲音瑜伽療癒假期,並在此經常性舉辦講座、音樂會
2020 於台東都蘭月光小棧與阿美族古調演唱家 馬格拉海的改硬、即興舞蹈家Shaun Roos與慧虹合作演出
2021 創辦台灣泛音演唱團體 Iuooui 漪渦魚,並定期辦理歌唱聚會,培養傳遞聲音的新世代
2022 創辦台灣泛音詠唱協會,透過組織型傳播,讓聲音對身心靈的美好讓更多人知道

來吧!讓心發聲!讓愛發聲!為自己發聲! – Jude Huang

從無聲到有聲 ~ “If I were Helen Keller, Mark Van Tongeren , you are my teacher Sullivan.” 這是我對馬克·德蘇的由衷致意。近日連續驟雨, 時急時緩,時大時小,若不去分別不適或恐懼災變,光聽雨聲,彷彿天地奏出交響的樂章。


每次我們一起玩聲音的時候,我都覺得自己在剝去自我又再重建的過程,最後回到一個完整的人。- Judith

你的課程讓我發現呼吸及聲音的魔法,也讓我的內在小孩非常快樂。- Nancy

很享受今天的課程。大家都好投入,展現了豐富創造力。也在抒發情緒之中宣洩,並在宣洩之後充電,恢復滿滿的活力。- Tina

8- DAY


Hualien County, Taiwan

with Mark van Tongeren

Connecting body sound and mind.
March 18-21 (4 days) 2023

Day 1 Morning
Forget everything! Make a fresh start!
Voice-yoga: warm-up meditations, breathing, listening, resonance, vowels.
Un-learning: excercises to forget what you thought you knew about music, sound and voice.

Day 1 Afternoon
Ear-cleaning & Expanding your Hearing
We have become deaf due to noise pollution and sensory overload.
But we can also learn to hear more than most humans ever heard before. Includes Overtone singing exercise (1).

Day 2 Morning
Music/sound and the body.
Voice-yoga: warm-up meditations, breathing, listening, resonance, vowels.
Ocean exercise: making sounds without boundaries. Re-discover things your body knew, but that you were unaware off.

Day 2 Afternoon
Sound and vibration as tools to go into yourself.
Experiencing yourself/the other through the sense of sound.
Understanding the path of discovery: part searching, part non-doing. Overtone singing exercise (2) en (3).

Day 3 Morning
Understanding overtones, the DNA of sound.
Overtones are in a way the original harmony, underlying every other musical and non-musical harmony.
You yourself cannot change your DNA, but you can get creative with the DNA of all sounds. Includes seeing your voice (#1).

Day 3 Afternoon
Harmonics as/in healing and therapy.
From shamanic wisdom to detox and emotional catharsis. Plenty of group chanting. Confronting fear, developing self-confidence. Sing for yourself. Sing for someone else. Sing together.

Day 4 Morning & Afternoon
Balancing Inner Voice < — > Outer Voice.
How to let the body speak (and tune down the mind) while gaining a deeper understanding (knowledge, intuition) using the physicality of voice and hearing? We exploring questions such as: (1) How can you connect deeper with yourself using your voice? (2) What should the sounds you make be like? (3) What can these sounds tell you, and what can others hear in your voice? And what is the role of silence?

Spiritual practices, brought back to earth. Channel your beliefs into sonic patterns.
May 20-23 (4 days) 2023

Day 1 Morning
Breath, Prana & Movement.
Prana is the beginning of life force. Breath is one such process, and the one that happens to drive our vocal sound too. Workshop practices will target to develop your voice to be a powerful tool for relaxation and transformation, depending on how we use it.
Bringing the ideas and practices from Module One back to life and reviewing your personal development together.

Day 1 Afternoon
Technical work.
Return to the technical challenges of good resonance, balance of body-mind exercise and good overtone singing skills.
The basis of resonance is hard, concentrated work and a clear understanding of physical and mental processes.
Solid practice to build on during the following days. Seeing your voice (#2).

Day 2 Morning
Spiritual practices and sounds. Christianity.
Immerse yourself in the grand ideas of Christianity and its lyrical musical legacy. What are Christian songs and styles in the context of overtone singing?

Day 2 Afternoon.
Spiritual practices and sounds. Buddhism.
Immerse yourself in the grand ideas of Buddhism and its esoteric musical legacy.
Buddhist chanting and vocal style in the context of overtone singing.

Day 3 Morning
Spiritual practices and sounds: more ancient, more new.
What can we learn from Tuvan people about animism and shamanism.
What from new personal visions such as the one of Michael Vetter?

Day 3 Afternoon
Create new spiritual practices and sounds.
Do we need an -ism or a religion? What do we find in music itself? What do we find in ourselves?
Can we take up sound and vibration as tools to go beyond yourself? How? What tools do we need?
Day 4 Morning & Afternoon. Quintessence of science sound and self
Bring back the big picture of it all to peacemeal action. Do you follow basic techniques or develop a unique voice of your own? Can you ‘Catch the spirit of the moment?’ Do you like to create a slow ritual? Today every voice will find a place as we all create a final piece about Sound at the Centre of the Universe. Group sharing.
The course will be conducted in English. Our interpreter Sunny Chen will be present to summarise or translate entire parts of the course into Mandarin, depending on the needs.

Morning sessions: 9:30-12:30
Afternoon sessions: 14:30-16:30 + 17:00-18:00.
Evenings are for resting, self practice, jamming…
We remain the right to change program time and contents.

No previous musical experience is required. For students who have already done one or more workshops of overtone singing there will still be plenty to learn. If you are in doubt contact us with your questions.
2 modules : NT$ 52,000
1 module :NT$ 30,000
⊙Early bird before 10th Feb
2 modules: NT$ 47,000
1 module:NT$ 27,000
⊙Old Student & TOSA Membership before 10th Feb
2 modules:NT$ 45,000
1 module : NT$ 26,000


Lodging in shared rooms (a private room if available).
Breakfast, Lunch & Dinner
Coffee and snacks.

Not included:
Transport to the retreat in Hualien
To bring:
Please bring some instruments of your own.
It is also possible to pre-order a shruti box or Jew’s harps from Mark to help your own practice during and after the workshop.


This workshop is brought to you by Mark van Tongeren, Jackal Mei(organizer and event administration ) and Sunny Chen (translator). For any questions about the contents in English ask Mark, in Chinese, ask Jackal Mei. For registration, lodging and food details ask Sunny. For contact info see below.

Mark van Tongeren is a Dutch sound explorer with a deep interest in the synergy of arts, sciences and contemplative traditions. Mark has over 25 years of experience in theatre, music and dance productions and holds a PhD from Leiden University’s Academy of Creative of Performing Arts. He practices all kinds of voice/music/performance practices for 30 years, often combined with contemplative practices (meditation, pranayama, yoga).

Jackal Mei
Phone: 0936-596-910
Mail: jackallala@gmail.com
Line ID: jackallala
Mark van Tongeren
Phone 0910382749
LINE: 091038274

Photos by Jackal Mei



Book Launch 1, 2 & 3

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.




Friday January 6

20-21:30 LA time


Saturday January 7

12-13:30 TW/HK time

The FB event page




Saturday January 14

20-21:30 NY time


Sunday January 15

9-10:30 TW/HK time

The FB event page




Saturday February 4

13-14:30 C.E. TIME


Saturday February 4

20-21:30 TW/HK time

The FB event page




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


Or as a package with the Anthology album:



The book in short:

The Overtone Singing Book

Book and Audio Anthology published

A few days ago, Overtone Singing – Hidden Dimensions of the Human Voice has arrived at its distribution centers in the US (NY), Europe (Haarlem) and Taiwan (Longtan). Publisher David Rothenberg produced a beautiful midway solution between paperback and hardcover book, called ‘flexibound.’

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:


Book and/or Anthology Album on Bandcamp:



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


Overtone Singing Book Pre-Sale started


After three years of editing (text), drawing, scanning (illustrations), mastering (audio) and revising under the guidance of very capable editors, Overtone Singing – Hidden Dimensions of the Human Voice is now getting ready for printing and distributing. It was nearly 20 years ago when I first met the new publisher, David Rothenberg, in his upstate New York village, after attending the Small Publisher’s Fair in New York City. We became friends, met here and there every once in a while and kept up a correspondence about many issues, such as the music of birds and other creatures, which is his special theme. Some years ago he launched his own press and so we came to talk about my book Overtone Singing, which needed a thorough update and revision.

Pre-order Overtone Singing at your local bookstore (US only)

Pre-order Overtone Singing on Amazon.com

Pre-order Overtone Singing on Book Depository – free world-wide delivery


Many things have been changed compared to the original book, so much so that I think this is the definitive version. Why? Because the contents became more and more integrated, my views more balanced, I dared to speak out criticisms more clearly, I updated myself about aspects that I thought were poorly represented (such as the healing and therapeutic aspects of overtones). Not to mention the development of the field itself in these 20 years: female overtone singers are once again well-established instead of marginal, the khöömei ‘traditions’ have developed in many directions and become modern in many ways, and they have popped up in new places where we did not really expect them (such as China, to mention one controversial case I discuss).


I also had the great fortune to do research about the ‘multi-part’ (that is, choral) traditions of overtone singing (Tibet, South Africa, Sardinia) and to make recordings there. I am quite proud about the accompanying audio guide, which is now called The Anthology of Overtone Singing and will be available in many places soon. I have been to nearly every place with an overtone singing tradition and keep on investigating these fascinating traditions in person, wherever I can. I think my new Physics chapter sets a good standard for what is possible technically, with updated drawings by own hand. The lessons learnt from several projects for which I have created new works for overtone singers have been really important for that: the Paraphony Laboratory and the Parafonia group, the Superstringtrio, and now IUooUI in Taiwan. In another way this book finally got the form I had always wanted it to be. Despite the help of several capable readers and editors in previous versions, there were still quite some mistakes in terms of English usage. Thanks to a thorough review process, there is no more engrish now!



What we are hoping for now, is to get enough backers for the crowdfunding campaign. OK, let me explain, for those who get confused. Crowdfunding is when you buy and pay for something that does not yet exist, but which you hope and wish will go into production: a book or music project, or a new model electric toothbrush – it can be anything, really. A backer is internet lingo for a supporter, which is simply a client who buys something, or someone who pays more to support a project and receives something extra on top. So without further ado, please check out the campaign for the Overtone Singing book on indiegogo.com, and order a book by clicking on the link below.


You will be among the first to receive the book and I will be eternally grateful to you! If you have any questions or problems with Indiegogo, you can always write to me directly.

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





Pictured from top to bottom: Sainkho Namtchylak with guitarist Kazuhisa Uchihashi; singers from Castelsardo, Sardinia; Musicians from Nqoko, South Africa; Khöömei Day in Tuva, 2018;Andreï Öpei and Valeriy Mongush from Tuva; the author with Trân Quang Hai, renowned overtone singing researcher, onstage in Kyzyl, Tuva, 1995.

Introducing: IUooUI

A new group called IUooUI is going to give its first series of full performances. Most of us know each other for many years now and share a deep passion for overtone singing, throat singing and improvising with voices and instruments, as well as work on the body-mind relationship. We decided to take it a step further and create surprising performances based on all those amazing sessions we had during workshops throughout the years. We all have dreams and desires to bring the music in our heads alive, for others to hear. This is a challenge. We leave the intimate comfort zone of a workshop space. We are ready to confront an audience of curious listeners in unusual settings, and to envelop them with our resonances, overtones, mantras, syllables, shrieks, assisted by drums, Jew’s Harps, shruti boxes and more.




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 , 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.



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:





IUooUI : 全新泛音詠唱團體的誕生
8月【漪渦⿂】 就要正式公演了~
我們即將參與 2022臺北藝穗節,一共演出5場~
1:【8/21 19:30】 (日) 晚
2:【8/24 19:30】 (三) 晚
3:【8/26 15:00】 (五) 午
4:【8/26 19:30】 (五) 晚
5:【8/28 19:30】 (日) 晚

演出資訊: https://www.opentix.life/event/1536284030369976325



World Premiere of Yang Song’s In Einem Moment 须臾

This weekend a new work by Chinese-German composer Yang Song in which my voice and Jew’s harp are featured, will have its world premiere: In Einem Moment – 须臾. The piece features orchestra and tape, as it is often still called, meaning pre-recorded audio played back during the live performance. Yang Song studied electro-acoustic composition and created an 8-channel version with spatial and some digital effects superimposed on the voice and instrument recordings. Among the recordings are not just pieces of throat singing (khöömii or khöömei), but also vocalisations inspired by a special genre of folk song I have practiced in a free style for many years: Mongolian long song or urtyn duu.


The timing of the invitation, some four months ago, was auspicious, because I had just began to delve deeper into the Mongolian long song genre with the intention to include it in my live repertoire. So a month or so earlier I picked up a book plus CD I had bought in Mongolia but never properly studied: Alain Desjaques’s Dix-Huit Chants Mongols Dzahtchin et Ourianhai. (If this sounds familiar to some readers, I wrote more about that in this recent blogpost.)*

While I was working on that material, Yang Song got in touch with me through a common friend, Frank Kouwenhoven, of CHIME in Leiden. Song grew up in Inner-Mongolia, part of the PRC, from partial Mongolian parentage, but in a Chinese-language environment. In the program notes to her piece, she admits that she is familiar with traditional Mongol music and yet not really used to them. “In my family Mongolian blood flows; I was used to be surrounded by Mongolian music in various formats, even though I did not understand the lyrics.”

The question was if I could provide a number of different techniques of throat singing / overtone singing, Mongolian long song, and Jew’s harp, to use as the ground material for her electronic composition and the orchestral piece. I wanted to oblige, as her music immediately appealed to me and our first conversation made clear we had many things in common aesthetically. At the same time I was a bit confused: Why Me? Wouldn’t it be easier and more logical to ask a musician from Inner-Mongolia to provide the basic tracks for her piece? Even though I am a Dutchman living in Taiwan, and she is a Chinese Mongol in Germany, we had a similar proximity, or rather: distance to the music that inspired her. Noticing that this was apparently what she wanted (someone with a certain distance to the living source of Mongol traditional music) I put the question aside and started to work.

I sent her my updated and expanded Anthology of Overtone Singing: a selection of my field recordings from traditional of overtone singing plus several of my own pieces and demonstrations (and which will be published soon as the 2022 version of my book Overtone Singing is in its final stages of publication). She sent me back samples of it and of recordings she found on the web. We agreed to work on 7 short pieces of about 30 to 90 seconds. Although initially it seemed she wanted to let me improvise, over time her ideas became more fixed. She wanted to let the orchestra sing or recite some of the long song syllables, so she ended up needing fixed lyrics. I then wrote lyrics inspired by Mongolian phonemes (I only speak a few words of Mongolian and do not want to make a fool of myself pretending I can sings ongs in fluently Mongolian). She also set out the rhythmical structure, fundamental notes and durations for my parts, all of which I recorded in a studio.




I am curious about the result but will not be able to hear it in its full 8-channel form with live orchestra. If you are near Saarbrücken, please go and listen for me – at least Frank Kouwenhoven will be there to give his account of how it sounded! Since this is a radio concert, I think it will be live on the radio too this Friday.

May 20, 2022, 19:00

Benjamin Britten
Variationen über ein Thema von Frank Bridge für Streicher op. 10

Yang Song
„In einem Moment – 须臾“

Uraufführung / World Premiere

Benjamin Britten
Violinkonzert d-Moll op. 15


German Radio Philharmonic. Conductor: Martyn Brabbins.

Website Link: Saarländischen Rundfunk Saal, Saarbrücken/Germany, 20th May 2022


Live broadcast:

Sendetermin | 20 Uhr zeitversetzt auf SR 2 KulturRadio

Künstlergespräch | 18.15 Uhr


Program booklet (in German)



* Alain Desjaques’ book title is a reference to an earlier collection of songs and poems assembled by a Mongolian princess, Dix-huit chants et poèmes mongols, published 1937.