World Music Quiz JukeBox Index

INTRODUCTION Case Study: The Throat Singers of Tuva Distinctive vocal method called khoomii Musics from around the globe surround most of us where we live. Accessible for an evening or through the media Do not have to seek out new musical experiences Casually enter our perception The presence of multiple musics in familiar places is a reality of life worldwide in the 21st century. Ethnomusicology unites the study of music with the methods of anthropology. Depends on observation of and participation in musical events Important moments in ethnomusicology WHAT IS A SOUNDSCAPE? The different aspects of the musical environment, ranging from a single musical tradition to all sounds heard in a particular place A sonic environment that could be compared to a seascape Flexible; music's ability to both stay in place and move Musical traditions can be anchored to one place for a long time. May move beyond the horizon A flexible approach is need to think about a soundscape's setting and aspects of sound and performance. LOCATING A SOUNDSCAPE Sound Individual voices and instruments are distinguished by differences in sound properties. Studied through the field of acoustics Each voice or instrument produces a blend of the fundamental tone and a series of tones above it. Acoustical phenomenon of the harmonic series Tone quality called timbre Each instrument and voice has a unique timbre. The presence of multiple musics in familiar places is a reality of life worldwide in the 21st century. Khoomii singers produce two tones at the same time. Singer causes one additional partial to be heard above the fundamental. Some singers can produce a third partial as well. In other traditions, upper partials are audible. There are many styles with contrasting sound characteristics in different regions of the country. Kargyraa Has a lower-pitched fundamental and a husky voice quality May have a text Sygyt Has a higher-pitched fundamental Clear harmonics that sound like whistling There are many personal styles. Nose khoomii Chest khoomii Setting Includes everything from the venue to the behavior of those present Reveals much about a musical event Determines, to a great extent, what we hear and see Every musical event is influenced by others that came before it. Musicmakers must be creative in adapting their traditions to the situation. The setting of each performance conveys meanings for both performers and listeners. Traditional venues can be dramatically different from venues faced by musicians performing abroad. Throat singing was a largely a solitary pursuit. Particular settings shaped the musical sound. Ezengileer is a notable example. Significance Music means, or signifies, different things to performers and listeners from different backgrounds. Certain musical events can come to symbolize meaningful moments. In other cases, music carries meanings that are hidden. Khoomii provides an example of a tradition with multiple meanings for performers and listeners. By imitating natural sounds, singers reinforce their connection to the physical environment of Tuva. Anchored in traditional Tuvan spiritual practices Some Tuvans trace the origins of khoomii to lullabies. Khoomii may signify deep-seated associations with the homeland as well as ties to the family. Outsiders may be so surprised by audible harmonics that they do not consider the sounds' significance. Repeated exposure can help outsiders become more sensitive to the range meanings available to insiders. THE EVER-CHANGING NATURE OF SOUNDSCAPES Case Study: David Hykes and Harmonic Chant In the early 1970s, the young American musician David Hykes heard a recording of khoomii from Mongolia. Hykes learned through experimentation how to sing khoomii. He also encountered the vocal techniques used by some orders of Tibetan monks to produces multiple harmonics. Hykes formed the Harmonic Choir in 1975. Ensemble of men and women who performed his compositions Choir sounded similar harmonics to those used in Tibetan chant. Hykes would sing a khoomii solo. Performed in the Cathedral of St. John the Divine in New York City Setting enhanced the sound and lent added significance. Most of Hykes's performances were in resonant churches. Hykes believed music should be more than entertainment and should be a spiritual experience. Conveyed universalist ideas shared by many New Age musicians Presented concerts on days of universal significance In 1987 Hykes moved to France. Incorporated more styles into his solo khoomii-based compositions Draws on improvisation during live performance Cultivates a spiritual atmosphere while formulating, "new traditional or sacred art" Based on historical traditions, and at the same time constitutes a new beginning

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