Mongolian Dancer gobi desert- 2 MINUTOS
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Danza tradicional occidentalizada de Mongolia en el desierto de
Gobi
Traditional
Mongolian Ethnic Music Group "Khusugtun" (Хөсөгтөн). 3.59
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Mongolian Music - Healing Soul
Spirit Song-5.15 min
Boerte - Gobi
Mongol Beauty Gobi [HD] + ENG subtitles
Relaxing Music Gobi
Mongol Beauty Gobi [HD] + ENG subtitles
Relaxing Music Gobi
name of the song is in English " My mom is camel herder" literally. It is about
that some1 who missing his or her mom who lives in the Gobi Desert cause he/she
lives far away from the Gobi and could not meet for long time. shortly, the
song is about this- Thanks a lot for the explanation. Mongolian voice when
performing music is always amazing. So strong, sometimes sad, however is
beautiful at the same time. I once watched dance and musical performance of
Mongolian kids in Tokyo, it was so much touching.
Life in the desert must be so tough, thus you guys' culture has got a very
strong image.
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Borte 1 - Dschingis Khaani Mori- 3.22 min
JAZZ ETNICO MONGOL aplausos al
final
As a Tatar I am
proud of my great ancestors Chingiz Khan,Berke,Batu, Subudei,Djebe and the
Golden Horde.
Greetings to our brothers and sisters in Mongolia!
Huun-Huur-Tu - Orphan's Lament - 01 Prayer-2.32 min
Publicado el 11/11/2013
full album: http://www.youtube.com/watch?v=MPJSyp...
The Orphan's Lament (1994)
From the first track, their second album, Orphan's Lament grabs your attention with "Prayer" -- the deep, unearthly, sounds of Tibetan Lamaist chant. Next they move to khoomei singing. Known in the West as "throat singing," the performer produces two or more high- and low-pitched tones simultaneously. The resulting sound -- somewhat eerie, somewhat haunting -- is a combination somewhere between the sounds of a long whistle and a Jew's harp.
But Huun Huur Tu also adds new elements to the traditional sounds of Tuvan music. In addition to the igil, a two-stringed horsehead fiddle played with a bow, and the khomuz, a Jew's harp, (both traditional instruments) the group has incorporated percussion -- not a usual device in Tuvan music. Their use of a large goat-skin drum, generally reserved for shamanistic rituals, gives a rhythm to their music, making it very appealing to a Western ear. Similarly, their use of pouch rattle (made from a bull's scrotum filled with sheep knucklebones) adds a beat.
The fact Huun Huur Tu plays together, as a group, is itself unusual. Not content to blindly follow traditional Central Asian folk music, Huun Huur Tu's four, sometimes five, performers create an ensemble that offers a complex, fascinating, and harmonious mixture.
The Orphan's Lament (1994)
From the first track, their second album, Orphan's Lament grabs your attention with "Prayer" -- the deep, unearthly, sounds of Tibetan Lamaist chant. Next they move to khoomei singing. Known in the West as "throat singing," the performer produces two or more high- and low-pitched tones simultaneously. The resulting sound -- somewhat eerie, somewhat haunting -- is a combination somewhere between the sounds of a long whistle and a Jew's harp.
But Huun Huur Tu also adds new elements to the traditional sounds of Tuvan music. In addition to the igil, a two-stringed horsehead fiddle played with a bow, and the khomuz, a Jew's harp, (both traditional instruments) the group has incorporated percussion -- not a usual device in Tuvan music. Their use of a large goat-skin drum, generally reserved for shamanistic rituals, gives a rhythm to their music, making it very appealing to a Western ear. Similarly, their use of pouch rattle (made from a bull's scrotum filled with sheep knucklebones) adds a beat.
The fact Huun Huur Tu plays together, as a group, is itself unusual. Not content to blindly follow traditional Central Asian folk music, Huun Huur Tu's four, sometimes five, performers create an ensemble that offers a complex, fascinating, and harmonious mixture.
- Compra "Prayer"
(Google Play • eMusic • iTunes)
- Artista Huun-Huur-Tu
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Huun-Huur-Tu - Orphan's Lament - 02 Ancestors-3.55 min
Publicado el 11/11/2013
full album: http://www.youtube.com/watch?v=MPJSyp...
The Orphan's Lament (1994)
From the first track, their second album, Orphan's Lament grabs your attention with "Prayer" -- the deep, unearthly, sounds of Tibetan Lamaist chant. Next they move to khoomei singing. Known in the West as "throat singing," the performer produces two or more high- and low-pitched tones simultaneously. The resulting sound -- somewhat eerie, somewhat haunting -- is a combination somewhere between the sounds of a long whistle and a Jew's harp.
But Huun Huur Tu also adds new elements to the traditional sounds of Tuvan music. In addition to the igil, a two-stringed horsehead fiddle played with a bow, and the khomuz, a Jew's harp, (both traditional instruments) the group has incorporated percussion -- not a usual device in Tuvan music. Their use of a large goat-skin drum, generally reserved for shamanistic rituals, gives a rhythm to their music, making it very appealing to a Western ear. Similarly, their use of pouch rattle (made from a bull's scrotum filled with sheep knucklebones) adds a beat.
The fact Huun Huur Tu plays together, as a group, is itself unusual. Not content to blindly follow traditional Central Asian folk music, Huun Huur Tu's four, sometimes five, performers create an ensemble that offers a complex, fascinating, and harmonious mixture.
The Orphan's Lament (1994)
From the first track, their second album, Orphan's Lament grabs your attention with "Prayer" -- the deep, unearthly, sounds of Tibetan Lamaist chant. Next they move to khoomei singing. Known in the West as "throat singing," the performer produces two or more high- and low-pitched tones simultaneously. The resulting sound -- somewhat eerie, somewhat haunting -- is a combination somewhere between the sounds of a long whistle and a Jew's harp.
But Huun Huur Tu also adds new elements to the traditional sounds of Tuvan music. In addition to the igil, a two-stringed horsehead fiddle played with a bow, and the khomuz, a Jew's harp, (both traditional instruments) the group has incorporated percussion -- not a usual device in Tuvan music. Their use of a large goat-skin drum, generally reserved for shamanistic rituals, gives a rhythm to their music, making it very appealing to a Western ear. Similarly, their use of pouch rattle (made from a bull's scrotum filled with sheep knucklebones) adds a beat.
The fact Huun Huur Tu plays together, as a group, is itself unusual. Not content to blindly follow traditional Central Asian folk music, Huun Huur Tu's four, sometimes five, performers create an ensemble that offers a complex, fascinating, and harmonious mixture.
- Compra "Ancestors" (Google Play • eMusic • iTunes)
- Artista Huun-Huur-Tu
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Huun-Huur-Tu - Orphan's Lament –
03 Aa-Shuu Dekei-Oo-3 min
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Huun-Huur-Tu - Orphan's Lament - 04 Eerbek-Aksy-2 min
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Huun-Huur-Tu - Orphan's Lament –
05 The Orphan's Lament-6.44 min
their second album, Orphan's Lament grabs your attention with
"Prayer" -- the deep, unearthly, sounds of Tibetan Lamaist chant.
Next they move to khoomei singing. Known in the West as "throat
singing," the performer produces two or more high- and low-pitched tones
simultaneously. The resulting sound -- somewhat eerie, somewhat haunting -- is
a combination somewhere between the sounds of a long whistle and a Jew's harp.
But Huun Huur Tu also adds new elements to the traditional sounds of Tuvan music. In addition to the igil, a two-stringed horsehead fiddle played with a bow, and the khomuz, a Jew's harp, (both traditional instruments) the group has incorporated percussion -- not a usual device in Tuvan music. Their use of a large goat-skin drum, generally reserved for shamanistic rituals, gives a rhythm to their music, making it very appealing to a Western ear. Similarly, their use of pouch rattle (made from a bull's scrotum filled with sheep knucklebones) adds a beat.
The fact Huun Huur Tu plays together, as a group, is itself unusual. Not content to blindly follow traditional Central Asian folk music, Huun Huur Tu's four, sometimes five, performers create an ensemble that offers a complex, fascinating, and harmonious mixture.
But Huun Huur Tu also adds new elements to the traditional sounds of Tuvan music. In addition to the igil, a two-stringed horsehead fiddle played with a bow, and the khomuz, a Jew's harp, (both traditional instruments) the group has incorporated percussion -- not a usual device in Tuvan music. Their use of a large goat-skin drum, generally reserved for shamanistic rituals, gives a rhythm to their music, making it very appealing to a Western ear. Similarly, their use of pouch rattle (made from a bull's scrotum filled with sheep knucklebones) adds a beat.
The fact Huun Huur Tu plays together, as a group, is itself unusual. Not content to blindly follow traditional Central Asian folk music, Huun Huur Tu's four, sometimes five, performers create an ensemble that offers a complex, fascinating, and harmonious mixture.
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Huun-Huur-Tu - Orphan's Lament –
06 Kaldak Khamar-
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Huun-Huur-Tu - Orphan's Lament –
-07 Steppe
Sonidos de cantos de lamas tibetanos. Canto desde la
garganta.
Donde se producen dos o mas
tonos altos y bajos simultáneamente. El resultado es una combinación entre el
sonido de una flauta y una arpa…
A esto el grupo le ha añadido
nuevos elementos a los sonidos tradicionales de la música Tuvan. Se ha
incorporado percusión, tambor reservado a rituales mágicos, le da ritmo a l música ace4rcandose
más a los oidos occidentales, y también se le añadió otro instrumento que suena
como a golpe o latido. Este grupo
combina música tradicional como innovador, a veces tocan cuatro o cinco
personas, ofreciendo una mezcla compleja, fascinante y armoniosa.
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Huun-Huur-Tu -
Orphan's Lament –
08 Borbanngadyr
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CANTO DIATONICO-
MONGOLIA- SE CANTAN DOS NOTAS-TONOS- A LA VEZ
6 methods of the khoomii(Throat Singing)-5.48 min
Mongolia
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Mongolian Incredible Throat Singing 呼麦- 3.02 min
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canto
diatónico, originario de Mongolia donde es canto tradicional.
polyphonic overtone singing - Anna-Maria Hefele-4.58 min
Canto armónico…
una sola persona canta
dos notas a la vez.
El primer sonido se emite por las cuerdas
vocales y el segundo por la posición de la lengua de la misma
manera que hacemos para silbar.
El caso de esta mujer no es una anomalía sino
más bien una técnica descubrió naturalmente.
overtone singing is a voice technique
where it seems like one person sings two notes at the same time.
You can sing the overtone scale on one fundamental. Another fundamental has its own overtone scale, so in order to have more overtones to sing nice melodies, you can use different fundamentals and change them while singing.
the video is live, and every human being is able learn overtone singing ;) ....well...not starting directly with polyphonic overtone singing.... but singing overtones on one fundamental isn't too hard.
You can sing the overtone scale on one fundamental. Another fundamental has its own overtone scale, so in order to have more overtones to sing nice melodies, you can use different fundamentals and change them while singing.
the video is live, and every human being is able learn overtone singing ;) ....well...not starting directly with polyphonic overtone singing.... but singing overtones on one fundamental isn't too hard.
Demostración
de canto polifónico armónico
Polyphonic overtone singing-Anna-Maria Hefele- 4.59
min
Estupendo
y sorprendente vídeo de canto armónico polifónico obra de Anna-Maria Hefele, en
el que exhibe su capacidad para crear
una armonía de dos notas a la vez con una sola respiración.
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Anna Maria
hefele- Obertongesang-6.46
Canta dos
notas a la vez.
Canto armónico…
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Rollin Rachele "Overtone Singing" Music Video-3.48 min
Canto armónico hombre y
mujer
Actualizado el 28/1/2008
Rollin Rachele
(www.overtonesinging.com) is one of the world's leading authorities on the
vocal art of overtone singing (also known as harmonic singing). He is an
accomplished musician, performing artist, teacher and innovator.
He has contributed his scientific knowledge to academic establishments such as the American Laryngological Voice Research and Education Foundation and The Voice Foundation of Philadelphia, Pennsylvania, USA.
His media appearances are numerous, including several television appearances, radio interviews and feature articles in publications such as the Evening Standard and Men's Health magazine.
In this music video arrangement, Rollin Rachele is accompanied by Celtic artist Kate McKenzie and Classical Indian vocalist Ustad Mohammed Sayeed Khan. The video was filmed in Bath, England and the soundtrack was recorded and engineered at the Notre Dame Church in Leicester Square in London.
Performed by:
Rollin Rachele, Kate McKenzie, Ustad Mohammed Sayeed Khan
Soundtrack Engineered by:
Pete Townsend
Video Directed and Edited by:
Andrew Guidone, Valery Lyman, Shetal Shah
Director of Photography:
Andrew Guidone
Choreography:
Valery Lyman, Shetal Shah
Music copyright 2000-2012 Cryptic Voices Productions
Video production copyright 2000-2012 Python/Aquarius Productions and Cryptic Voices Productions
Director website: http://www.pythonaquarius.com
Rollin website: http://www.overtonesinging.com, http://www.abundantsun.com
He has contributed his scientific knowledge to academic establishments such as the American Laryngological Voice Research and Education Foundation and The Voice Foundation of Philadelphia, Pennsylvania, USA.
His media appearances are numerous, including several television appearances, radio interviews and feature articles in publications such as the Evening Standard and Men's Health magazine.
In this music video arrangement, Rollin Rachele is accompanied by Celtic artist Kate McKenzie and Classical Indian vocalist Ustad Mohammed Sayeed Khan. The video was filmed in Bath, England and the soundtrack was recorded and engineered at the Notre Dame Church in Leicester Square in London.
Performed by:
Rollin Rachele, Kate McKenzie, Ustad Mohammed Sayeed Khan
Soundtrack Engineered by:
Pete Townsend
Video Directed and Edited by:
Andrew Guidone, Valery Lyman, Shetal Shah
Director of Photography:
Andrew Guidone
Choreography:
Valery Lyman, Shetal Shah
Music copyright 2000-2012 Cryptic Voices Productions
Video production copyright 2000-2012 Python/Aquarius Productions and Cryptic Voices Productions
Director website: http://www.pythonaquarius.com
Rollin website: http://www.overtonesinging.com, http://www.abundantsun.com
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