The Use of Harmonic Overtone Singing Technique in Choral Music

In this document, the review of literature discusses harmonic overtone singing’s background and historical significance. A discussion of the physics involved in overtone singing is undertaken. Choral conductors can learn overtone singing and teach the skill to their students for application in choral repertoire through the approachable instruction provided in this document. Choral repertoire including the employment of overtone singing follows, culminating with an examination of the repertoire performed on the lecture-recital. Choral conductors should become familiar with overtone singing, so they can implement it as a tool with which to add variety to their own concert programming. Even if used sparingly, overtone singing often elicits surprising and unique responses from audiences. The repertoire performed and discussed covers a range of musical styles and largely uses improvisatory overtone singing, where singers generate partials ad libitum, rather than by following a prescribed pattern. Choral conductors could find something appealing should they develop interest in exploring the concept further. The pieces discussed in detail include “My Light” by Katerina Gimon, “Autumn Moon” by Stuart Hinds, “Sanctus” from Michael McGlynn’s Celtic Mass, “Dwijavanthi” arranged by Ethan Sperry, “Past Life Melodies” by Sarah Hopkins, “Immortal Bach” arranged by Knut Nystedt, and “Earth Song” by Frank Ticheli.

Grantor dc:publisher

University of Kansas

Year dc:date.issued

2020

Author dc:creator

• Welker, Ryan Thomas

Advisor dc:contributor.advisor

• Tucker, Paul

• Music
• choir
• choral conducting
• formants
• overtone singing
• Tuvan throat singing
• vocal resonance

Statement dc:rights

• Copyright held by the author.

Language dc:language.iso

en

Dc Identifier Other

http://dissertations.umi.com/ku:17261

OAI identifier oai:identifier

oai:kuscholarworks.ku.edu:1808/39322