Der Obertongesang aus Tuwa

Inhalt

1. Tuwa: kurzgefasst, geographisches und kulturelles

2. Xöömei: a. Tuwinische Wahrnehmung des

Klangraumes b. Gestaltungc. Stile/Artend. Technike. Begleitende Instrumente

1. Tuwa – Geographische Lokalisation

1. Tuwa – Steppe und Wüste

1. Tuwa – Taiga und Tundra

1. Tuwa – Nomaden und Tiere

2. Xöömei – a. tuwinische Wahrnehmung d. Klangraumes Timbral listening

„If you pick up snow, pack it into a snowball and throw it, it goes in a

single direction and, depending on the force of your throw, it can go quite

far. But if you scoop up some loose snow and toss it, no matter how much

force you exert, the snow just scatters. Sound is like that. In European

music, sound is packed compctly into discrete pitches, with thefundamental frequency and overtones all perceived as one. But

Tuvanmusic is like loose snow, and overtones are like the snow spray.“ Einheit des Klanges

2. Xöömei – b. Gestaltung

2 Systeme: - timbre-centered system - pitch-centered system Time Musik des Alltags

2. Xöömei – c. Stile/Arten Sygyt Xöömei Kargyraa (double phonation)

Borbangnadyr (Triller) Ezenggileer (pulsierend) Chylandk (Kombination) DymzhuktaarHörbsp.: Xöömei – Kargyraa – Kargyraa m. Borbangnadyr –

Kargyraa – Sygyt – Kargyraa – Sygyt – Xöömei m. Ezenggileer – Chylandyk – Chylandyk m. Borbangnadyr – Kargyraa m. Enzenggileer

2. Xöömei – d. Technik

Grundsätzliches Prinzip Vokale Lippenobertöne, Zungenobertöne

2. Xöömei – e. begleitende Instrumente (Auswahl) Khomus (Maultrommel)

Igil („Pferdekopf-Fidel“)„You will find my remains under the steep, overhanging cliff. Hang my skull on an old large tree. Make a musical

instrument from the wood of that tree, and call it ‚igil‘. Cover the igil

with skin from my face; mke the strings and the bow from the

hair of my tail. When you start to play the igil, my double will come down from the Upper World.“

Danke für Ihre Aufmerksamkeit!