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Ruth Rainero – What is the difference expressed
in semi-tones or quarter tones in a taan gesture – does it
increase or decrease with the speed of the taan gesture? It sounds
to me like the faster he goes the wider he goes. And – do both the
difference in frequency and in speed change in terms of what register
he is singing in?
….answer has further discussion about
tones and pitches in taan gestures and other ornamental singing.
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Don Miller – Listening to this with "Western ears", it seems
to me you could make a categorical distinction (very much like you
do in western type of singing) between a trill and a vibrato, there is not a huge difference in speed the trill
is slightly faster with considerably larger frequency difference.
[….Listen to the audio for remainder…] Audio
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Bill Reilly – I have only a limited experience in Hindustani
singing; most of what I’ve heard the ragas go on for about
an hour, and the singers that I’ve heard have been on the
east coast – only women. So I’m wondering if there are
differences between male and female voices in their taan gestures?
Specifically, the frequency dips that I’ve heard as they’ve
been singing toward the end of the raga after about an hour of
singing, with no rest, they take only enough rest to take a breath
for this singing. I’m wondering if you have tested for fatigue
and dehydration a singer has at the end of the raga? The female
singers I’ve heard had dips of 12 semi-tones towards the end
of the raga as they are getting emotionally involved and being
extremely expressive and also theoretically they are doing more
things as they go through their taan gestures. Audio
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Stephen Austin – I was wondering, I noticed you have your
EGG data, did you happen to use a dual channel EGG so that you have
the laryngeal height information? [No, listen to additional discussion
about trill and larynx movement in audio link]. Audio
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Ingo Titze – I’m curious about the moods that are
expressed basically with this type of ornament. In Western singing
with the trill, it’s basically a pitch upward movement with
the baseline, and it gives the perception of a sharpened pitch, and
hence a heightened excitement into the sound. With the pitch basically
going below the intended note, if there is such a thing, do you
use it for different mood expression - maybe more sadness or something
else, rather than brilliance and excitement, or is the excitement
multiply expressed? Audio link. |
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Mary Enid Haines – I’m just curious about the posture
or stance of the singer when he’s singing and I’m wondering
if there’s any external help he gets through head shaking
or anything like that when he’s singing. Audio
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Ron Scherer – Follow up on Ingo’s – Obstruction is one of the most important aspects of
this, and he described obstruction as some muscle or something happening
in the larynx, he could almost point to it. So from a mechanical
point of view, he thought there was adduction, and we actually found
typically there was just the opposite of that. But something was
going on, it could very well be strap muscles pulling on the larynx
down and up. What I wanted to mention, when the obstruction level
gets really severe, more severe than we were able to study, and
he does that in performance, the pitch lowering and rising is so
fast that it becomes a noise. The ear doesn’t hear a lower
and higher pitch like the trill, it’s a big difference with
the trill. […Listen to the audio for the rest.] Audio
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Theresa Radomski – First, when you refer to trillo what
exactly is that? There’s a concept in certain historical notes
that it is a single note repeated. The other thing that’s
fascinating to me is the pedagogical aspect of this, because one
often thinks of music of this nature[ ……listen to the
audio link for the rest]…also – how long is the training
for this[taan gestures]? Audio
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Irene Feher– As a pedagogue, I’m just curious; first
of all apparently these ragas run on for an hour, and they only
have these very short breaths; I imagine that breathing is a huge
element that is taught with this. Would it be comparable with the
breathing that is taught in western classical style? Audio
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Irene Feher–My other question is in regards to the role
of the tongue. I’m sure that dealing, as we do with students,
that the tongue can be just a huge area of tension. Are there numerous
vowels that are used or is this basically on one vowel? Just to
address, does the tongue even help in any way? Audio
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