What Is A Harmonic Chant

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  1. Khoomii is a distinctive vocal technique
  2. Music from all over the world is played in the background of most people’s lives where they reside.
  • The need to seek out new musical experiences is no longer necessary. Enter our perception in an unintentional manner
  • The existence of numerous musical styles in familiar settings is a fact of life in the twenty-first century all across the world.
  • Multi-musical presence in familiar environments is a fact of existence in the twenty-first century all across the world.
  • A musical event’s success is dependent on both observation and participation. Important epochs in the history of ethnomusicology
  • The many characteristics of the musical environment, which might range from a single musical tradition to all of the sounds heard in a given location
  • And
  1. The many characteristics of the musical environment, which might range from a single musical tradition to all of the sounds heard in a specific location.
  • The many characteristics of the musical environment, which might range from a single musical tradition to all of the sounds heard in a certain location
  • Long-lasting musical traditions can be established in a particular location. It is possible to get beyond the horizon
  • When considering the context of a soundscape, as well as features of sound and performance, a flexible approach is required.
  1. Individual voices and instruments can be identified from one another based on their sound characteristics.
  • Various sound qualities separate individual voices and instruments from one another.
  • Every instrument and voice has its own timbre, which is defined as the quality of sound produced by the instrument or voice.
  • The existence of numerous musical styles in familiar settings is a fact of life in the twenty-first century all across the world.
  • Khoomiisingers are capable of producing two tones at the same time.
  • One more partial is audible over the fundamental due to the efforts of Singer. Some vocalists are also capable of producing a third half
  • Additionally, higher partials can be heard in various traditions.
  • In different parts of the nation, there are several diverse styles with varying sound qualities
  • The country’s many regions have a variety of musical styles with differing sonic qualities.
  • Has a basic note that is higher in pitch
  • Clear harmonics that sound like whistling
  1. This includes everything from the location to the conduct of individuals in attendance.
  • Reveals a great deal about a musical event It has a significant role in determining what we hear and see
  • It is impossible to have a musical event without being impacted by those who came before it. Musicians must be innovative in their adaptation of their traditions to the current context.
  • Everything that happens in the world of music is inspired by what has gone on before it. To adapt their traditions to the current context, musicians must be inventive.
  • Traditional settings might be very different from the venues that musicians perform in when they travel to another country. Throat singing was a solitary activity for the most part.
  • Ezengileer, for example, is a famous example of how certain circumstances influenced the musical tone.
  1. Music implies or represents different things to different people, depending on their cultural and linguistic origins.
  • Certain musical events might come to represent significant events in one’s life. The music may also include hidden meanings in other instances.
  • In the case of Khoomii, we have an example of a tradition that has numerous meanings for both performers and listeners.
  • Natural noises are imitated by the vocalists, who use this technique to strengthen their connection to the Tuvan physical world.
  • Traditional Tuvan spiritual traditions serve as a foundation for this work. Some Tuvans may trace the roots of khoomiito lullabies back to their ancestors.
  • A deep-seated attachment to one’s nation as well as links to one’s family are represented by the khoomiimay.
  • In other cases, those who are not familiar with the noises are so taken aback by them that they fail to recognize their importance. Outsiders can grow more sensitive to the spectrum of meanings available to insiders as a result of repeated exposure to them.
  1. In the early 1970s, a tape ofkhoomiifrom Mongolia was discovered by a young American musician named David Hykes.
  • It was via trial and error that Hykes learnt how to singkhoomii. He also came upon the vocal techniques employed by some orders of Tibetan monks to generate many harmonics, which he discovered to be rather effective.
  • He had a group of men and ladies that would play his works
  • The choir utilized harmonics that were comparable to those used in Tibetan chant
  • Hykes would sing akhoomiisolo, a song about the moon.
  • The performance took place in New York City’s Cathedral of St. John the Divine.
  • The setting accentuated the music and provided additional meaning
  • The majority of Hykes’ concerts took place in large, resonant cathedrals. As a musician, Hykes thought that music should be more than just entertainment, but rather a spiritual experience.
  • The setting accentuated the music and provided additional meaning. It was in resonant churches that Hykes performed for the majority of his shows. As a musician, Hykes thought that music should be more than just entertainment, but rather a spiritual experience
  • Addition of additional stylistic elements to his solokhoomii-based compositions Utilizes improvisational techniques during live performance
  • In the process of developing “new traditional or holy art,” she cultivates a spiritual atmosphere. The work is based on past traditions, but it also represents a new beginning.
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David Hykes concept of Harmonic Chant

While inventing “new traditional or holy art,” he cultivates a spiritual atmosphere. The work is based on historical traditions, while also representing a fresh start.

Overtone Chanting

Overtone chanting, also known as overtone singing, overtoning, harmonic singing, harmonic chanting, khöömii, höömii, and throat singing, makes audible the natural harmonic spectrum of the voice in its pure rainbow colors, resulting in unearthly, angelic, and bell-like tones floating above the deep voices of the chanters. Overtone chanting is a type of singing in which the natural harmonic spectrum of the voice is made When chanting on a single note, the partials- component portions (overtones or harmonics) are selectively increased by altering the shape of the resonant chambers in one’s mouth, larynx, and throat, which results in a more complex sound.

Traditional chanting in this style has only been found in Central Asia – in Mongolia, Tuva, and Tibet – thus it is not often practiced elsewhere.

Monks in Tibet do this ritual exercise as part of their ceremonial duties in a small number of Tantric Colleges.

In the years since her collaboration with Stockhausen in 1971-1974, as well as with the chantmaster of Gyutö Tibetan Monastery and Tantric College, and later with a Mongolian khöömii master, Jill Purce has introduced overtone chanting workshops into the western world and has taught thousands of people all over the world as part of a larger awareness of the voice as a spiritual, meditative, and healing tool that we all possess but that most of us no

David Hykes- Harmonic Choir

Although therapy is typically thought of as something that is delivered to others, it is clearly something that can be done by and for oneself as well as by others. In this spirit, David Hykes founded the Harmonic Choir, which he has led for more than twenty years, traveling the world and teaching his ideas to new audiences, and discovering new individuals who are open to his work. Additionally, Hykes is in charge of the organization of musical seminars and workshops, all while maintaining a strong commitment to his career, which includes always learning and perfecting his skill.

You may reach David via email at [email protected] if you want to learn with him alone or schedule group sessions.

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PSF: Would you be able to tell us about the Harmonic Choir’s beginnings?

In 1974, I began using a harmonizer to electronically “refract” or “prismatize” vocals, as I termed it, a technique that was later imitated by Laurie Anderson and “Darth Vader.” The music for my film “Moving Parts,” which premiered at the Whitney Museum of American Art in New York in 1974, was generated from a single unique recorded voice, which I called “harmonic voices.” After becoming dissatisfied with electronic music, I founded the Harmonics Choir in New York in early 1975 after achieving success in locating harmonics in my own voice by listening to and singing along with Mongolian, Tuvan, and Tibetan recordings that were then available (from the Hungaroton (Mongolia), Melodya (Tuva), and Anthology and Nonesuch (Tibet) labels).

  1. We were tremendously fed and inspired by the old stream of chanting wisdom that is still existent in the East.
  2. It has aided the Harmonic Chant and the Harmonic Source Teachings in the discovery and cultivation of genuine currents of musical truth, combining at certain instances in fairly revelatory ways sound, meditation, the voice and voices, listening, breathing, and other aspects of being.
  3. Harmonic Chant, in my opinion, is a very strong healing art—in fact, it is possibly the most authentic and effective kind of sound healing available.
  4. Apparently, the majority of New Age copying of our work suffers from this difficulty, or at the very least fails to acknowledge it.
  5. When I was younger, I was mindful of harmonics as being common to all musical sound, whether sung or performed, and I believed they were and continue to be a key to the development of a new, worldwide religious music, which I have named the Harmonic Chant.
  6. PSF: What have been your objectives over your years of involvement with the Harmonic Choir?
  7. Bringing to life for others and ourselves an understanding of some of the glories and mysteries of the harmonic world, of which we are a part, by bringing them to life for others and ourselves via storytelling.

To gain a greater understanding of oneself and the cosmos via the study of harmonics—and to strive even more fiercely for true attunement to the Unknown.

As an artist, to design automobiles that are not only real “expressions of oneself,” but also aerodynamically sound vehicles for spiritual experiences as well.

Fourth, to create a body of work and a method of working that are profoundly in tune with the required Evolution of our species, which we are constantly urged to seek by all great Teachers.

Our efforts are both individual and collaborative, and we must continuously refine our sensitivity to the factors that provide us with our fundamental sense of direction in life.

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The sound spectrum is represented by the color spectrum.

How vibrational energy influences the behavior of matter.

Practically speaking, the infinite group of whole numbers, of which musical proportion is the most alive incarnation, is the infinite group of whole numbers.

In my music, the harmonic sequence serves as the work’s genetic code.

Middle-floor elements like as notes, chords, harmony and melody are also harmonic; they are also in harmonic proportion, are made up of harmonic matter and exist in a harmonious connection with one another.

PSF: How do you believe that harmonic singing affects the soul (both of the listener and the performer) and how do you know this?

Numerous specific exercises and practices have emerged during the course of the organic expansion of the Harmonic Source Teachings, all of which aid in the physical perception of these three components of the teachings.

Certainly this extensive and intensive line of DESCENDING work -that the goal of aspiration is the descent of Spirit into Matter- would appear to reaffirm the central demand of the teachings of Aurobindo, Gurdjieff, and Krishnamurti, that a transformation given by the Above can take place within ourselves if the very specific inner and outer conditions necessary for it are respected.

  • Being able to properly “hear” and “attune to,” much alone “harmonize with,” these situations necessitates a nuanced and supple mindset, both of which are difficult to come by these days.
  • Real self-knowledge can never be acquired by tactics alone; rather, it must be achieved through the total presence of a working attitude in my being, which may progressively bring about the results I desire.
  • The PSF: Why do you believe that music has such a significant effect on people (both as listeners and as performers)?
  • To quote Rilke, “music – pure and great – is not for us to dwell in now” – with the exception of brief periods.
  • PSF: This is a big subject.
  • The laws and information that are in effect are crystal clear, exact, and delicate.

David Hykes’ Cymatics Cycle is featured in this photograph.

David Hykes Harmonic Presence

David Hykes is a visionary composer, singer, musician, recording artist, visual artist, and teacher of meditative music and meditation. He is also a visionary composer, singer, musician, and recording artist. Among his accomplishments are the development of a contemplative music style known as Harmonic Chant as well as the Harmonic Presence program, which combines music with meditation training and healing harmonization methods. New music pioneer, meditative chant practitioner, and healer of the soul.

His 12 albums to date, including “Hearing Solar Winds,” which is one of the best-selling overtone albums of all time, are unique and subtle explorations of Harmonic Chant, Mantra, Sufi poetry, and poetic texts, with instrumental accompaniment ranging from wind harp and Sufi nêy flute to tabla and zarb percussion, and even the gigantic bell in Boudhanath, Nepal, among other instruments.

John the Divine Cathedral in New York City before becoming the Cathedral’s Artist-in-Residence again.

Musician and composer David Lang’s work relating music, meditation, the mind, and healing has led to him being invited to speak at the Dalai Lama’s Mind and Life Institute, as well as receiving awards from organizations such as The National Endowment for the Arts, UNESCO, the Edwards Foundation Arts Fund and the Rockefeller Foundation for his development of a global contemplative music of our time.

  • His “holy cinema” film music includes pieces for films such as “Baraka,” “The Tree of Life,” and many more, and he was approached by famous incarnate lama Dzongsar Khyentse Rinpoche to provide music to his feature film “Travellers and Magicians,” which is currently in production.
  • Since 1981, he has served as the president of the Harmonic Presence Foundation.
  • The late Smt.
  • David Hykes has been a student of the Dharma for many years.
  • He has also studied with Dzongsar Jamyang Khyentse Rinpoche and Tsoknyi Rinpoche, among other teachers.
  • His spiritual studies began approximately twenty years ago in the Gurdjieff Foundations in New York, San Francisco, and Paris as a student of two of Gurdjieff’s successors, Lord John Pentland and Dr.

He currently divides his time between France, where he directs Pommereau, a music and meditation center near Paris, and the United States, where he teaches, performs, and lectures on behalf of the Harmonic Presence Foundation, the world’s first modern organization dedicated to contemplative tradition and the music of harmonic body, mind, and heart.

He received his bachelor’s degree from the University of California, Berkeley.

Harmonic Singing – Timothy Hill

David Hykes is a visionary composer, vocalist, musician, recording artist, visual artist, and teacher of quiet music and meditation. He is also a visual artist and a visual artist who works with music. A meditative music style known as Harmonic Chant was created by him, along with the Harmonic Presence program, which combines music with meditation training and healing harmonizing methods to provide a holistic approach to healing. New music pioneer, meditative chant practitioner, and healer of the soul.

His 12 albums to date, including “Hearing Solar Winds,” which is one of the best-selling overtone albums of all time, are unique and subtle explorations of Harmonic Chant, Mantra, Sufi poetry, and poetic texts, with instrumental accompaniment ranging from wind harp and Sufi nêy flute to tabla and zarb percussion, and even the gigantic bell in Boudhanath, Nepal, among other things.

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John the Divine before becoming the Cathedral’s Artist-in-Residence again.

For his work relating music, meditation, the mind, and healing, he has presented at the Dalai Lama’s Mind and Life Institute and received awards from the National Endowment for the Arts, the United Nations Educational, Scientific, and Cultural Organization, the Edwards Foundation Arts Fund, and the Rockefeller Foundation, among other organizations.

  • He was requested to contribute music to the feature film “Travellers and Magicians” by acclaimed incarnate lama Dzongsar Khyentse Rinpoche.
  • Founded in 1981, the Harmonic Presence Foundation has been under his direction since that time..
  • The late Smt.
  • David Hykes has been a student of the Dharma for a long period of time now.
  • He has also studied with Dzongsar Jamyang Khyentse Rinpoche and Tsoknyi Rinpoche, as well as other master teachers.
  • His spiritual studies began over twenty years ago at the Gurdjieff Foundations in New York, San Francisco, and Paris as a student of two of Gurdjieff’s successors, Lord John Pentland and Dr.

He currently divides his time between France, where he directs Pommereau, a music and meditation center near Paris, and the United States, where he teaches, performs, and lectures on behalf of the Harmonic Presence Foundation, the world’s first modern organization dedicated to contemplative tradition and the music of harmonic body, mind, and heart.

He received his bachelor’s degree in music from the University of California, Berkeley.

How is this even possible?

David Hykes is a visionary composer, vocalist, musician, recording artist, visual artist, and teacher of quiet music and meditation. He is also a visual artist who creates abstract paintings. He is the creator of Harmonic Chant, a form of meditative music, as well as the Harmonic Presence program, which combines music, meditation training, and healing harmonizing activities. The Harmonic Chant was created in New York in 1975, the same year he founded his famed group, The Harmonic Choir, which is widely regarded as one of the world’s preeminent overtone groups.

  1. In New York, he spent 10 years as Artist-in-Residence at the Cathedral of St.
  2. Since 1980, he has been leading Harmonic Presence retreats all around the world.
  3. His “holy cinema” film music includes works for films such as “Baraka,” “The Tree of Life,” and many more, and he was requested to contribute music to the feature film “Travellers and Magicians” by acclaimed incarnate lama Dzongsar Khyentse Rinpoche.
  4. He has served as the director of the Harmonic Presence Foundation since 1981.
  5. The late Smt.
  6. David Hykes has been a Dharma student for a long time.
  7. He has also studied with Dzongsar Jamyang Khyentse Rinpoche and Tsoknyi Rinpoche, as well as other masters.
  8. His spiritual studies began approximately twenty years ago in the Gurdjieff Foundations in New York, San Francisco, and Paris as a student of two of Gurdjieff’s successors, Lord John Pentland and Dr.

He currently divides his time between France, where he directs Pommereau, a music and meditation center near Paris, and the United States, where he teaches, performs, and lectures on behalf of the Harmonic Presence Foundation, the world’s first modern organization dedicated to contemplative tradition and the music of harmonic body, mind, and heart.

David Hykes & The Harmonic Choir

David Hykes’ interest in ancient and sacred music, particularly western Mongolian khöömi sung in Tantric Tibetan Buddhism, would drive him to found The Harmonic Choir in 1975. Hykes was already a well-established experimental filmmaker. As part of his group’s efforts to create a new form of universal sacred music, Hykes became the first Westerner to venture into the world of harmonic and overtone singing, creating his own “harmonic chant” based on the natural harmonic overtones present in and fundamental to music and nature, as well as the first Westerner to do so.

With the exception of the human voice, there are no instruments used on the album: a single low bass note holds, another voice in a higher note joins, producing an overtone, and each member’s voice changes the harmonics and melodic trajectory throughout each of the album’s eight pieces.

While grounded in reality, the voices have a perplexing quality to them, generating moments of nearly aural illusion.

Because Hearing Solar Winds was such a significant achievement for the human voice, it should come as no surprise that it would go on to become the most successful vocal overtone album of all time.

Recommended – Complete Listening Buddhistism, obscure music, overtone singing, and vocals are some of the tags associated with this work.

Pierre Toureille is in charge of the direction.

Roland Michel was in charge of editing and mastering (2) Jacques Glenet and Raymond Buttin worked as engineers.

David Hykes, Louis Dandrel, Michelle Dupéré-Hykes, and Theodore Levin wrote the liner notes for this album.

Marianne Sinclair’s liner notes are included.

Jacques Levasseur and Michel Lepage were in charge of the mixing. Painting courtesy of Paul Raymond* Vincent Kaldor was in charge of the photography. David Hykes, Luc Ringger, MacLean Zehler, Michelle Dupéré-Hykes, Rebecca Krause, Theodore Levin, Timothy Hill are among the vocalists on the album.

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