The accompanying compact disc contains examples of music from each of them. The last two musicians currently live in Oregon.
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Louis, Illinois and Kevin Burke, an Irish-American fiddler. These are Hazel Dickens, an Appalachian singer Willetto Antonio, an Apache singer and healer Eagle Park Slim (Autry McNeace), a blues singer originally from East St. In the first chapter, "The Oral Process and 'Roots' Music," McLucas considers four musicians as examples of the breadth of oral tradition in the United States. She does a fine job explaining this research in plain language, providing a good introduction to the topic for any interested reader. After each of the four chapters McLucas inserts an "interlude" that explains the underlying psychological research behind the things described in the preceding chapter. The narrative also shows all the earmarks of extensive teaching experience, with examples that could easily be shared with students, and also examples drawn from students. She has drawn examples from her real-life experiences, many locally from Eugene, Oregon.
![tuvan throat singing soundbyte tuvan throat singing soundbyte](https://i.ytimg.com/vi/zqtQQJSJbBU/maxresdefault.jpg)
We would expect that most of the examples would be of folk music, but McLucas gives just as many examples from popular, Native American, and art music, from the seventeenth century to the present. There are many places where she uses the duel term "oral/aural." The musical case studies come entirely from the United States. he term "oral tradition" will be understood to encompass all music not handed down in or necessarily learned from a written form" To cover all facets of a process-the aural, or taking in by ear of sounds, and the oral, or the transmission by mouth (but also understood to cover instrumental performances passed on without notation). There are many books on specific oral traditions within the United States, but this is perhaps the only one that begins with oral tradition as the central topic, and then compares the commonalities of oral tradition between many different styles of American music. 2012, Dhu McLucas, professor emerita from the University of Oregon, has written one of the few books on the topic of oral tradition in music. “Tyva Kyzy - Interview Tumat Choduraa.” YouTube, YouTube, 6 Mar. “Throat Singing: A Unique Vocalization from Three Cultures.” Smithsonian Folkways Recordings, “Fundamental Research on Musical Culture of Tuva in the Twentieth Century Ready for Publishing.” Tuva Online,, “Timbre-Centered Listening in the Soundscape of Tuva.” The Oxford Handbook of Timbre, 2018, doi:10.1093/oxfordhb/9780190637224.013.15. Where Rivers and Mountains Sing: Sound, Music, and Nomadism in Tuva and Beyond. Levin, Theodore Craig, and Valentina Süzükei. “THE MYSTERY OF TUVAN KHÖÖMEI.” THE SPIRIT OF TUVAN NOMADS, 5 Mar. “Researchers Solve Mystery of Tuvan Throat Singing.” Media Relations, 11 Mar. “About Tuvan Throat Singing.” Alash, Department of Communications and Public Affairs, Western University. 22:09 – Lets think of Nature in new ways.21:09 – Saylyk sings a folk song her grandmother sang to her.20:24 – Saylyk discusses Tuvan folk songs and her grandmother’s singing.
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18:55 – The rich and complex use of timbre in Tuvan music.18:05 – Throat singing is sculpting sound and its scientific explanations.17:48 – Xoomei style with both techniques at once.
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11:01 – Description of throat singing styles.09:21 – Throat singing listening exercise.08:26 – Women practicing throat singing today.06:40 – Tuvan throat singing and nature.01:05 – Sasha’s first memory of Tuvan music.In this episode, we talk to Tuvan vocalist and composer, Saylyk Ommun, about Tuvan throat singing and its links with the natural world and modern genres like rock. From the mountains of Central Asia comes a musical form that borrows extensively from Nature.