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Sainkho Namtchylak -《Cyberia, Suite For The Voice A Cappella》(自由无疆的阿卡贝拉)[2 CD][FLAC]

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  • 摘要:
    音乐风格前卫
    发行时间2011年
    地区俄罗斯
  • 时间: 2013/03/05 13:59:09 发布 | 2013/03/07 18:53:01 更新
  • 分类: 音乐  欧美音乐 

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专辑英文名Cyberia, Suite For The Voice A Cappella
专辑中文名自由无疆的阿卡贝拉
音乐风格前卫
资源格式FLAC
版本[2 CD]
发行时间2011年
地区俄罗斯
简介

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专辑介绍:

《Cyberia》于2009年录制于莫斯科,全篇无伴奏几乎无歌词,都是Sainkho Namtchylak即兴的哼唱,Sainkho Namtchylak一直是横跨实验音乐和民族音乐的先锋人物,这张专辑算是放纵自己嗓音和状态的一次旅程,抛开器乐的束缚用纯粹原始的嗓音去表达,这也符合Sainkho Namtchylak不拘一格的艺术作风,但她从来都是围绕着自己图瓦本民族艺术根源进行再创造的,你从中可以听到很多图瓦民歌的音调包括呼麦,这位老太太无论如何的先锋或者另类,她始终代表着图瓦人民,在扭曲即兴的嗓音下包裹着对自己本民族艺术的感情,如果细细聆听是可以感受到的,这正是此张专辑打动人的地方,也是Sainkho Namtchylak的伟大之处。


赤裸的灵魂---Sainkho 娘娘的声画
Posted on 2009-01-27 by cabymama

一支发于Tuva 的艺术奇葩 翻江倒海的唱 东张西望的走 单眼皮包下全世界 瘦骨垂皮挺立即兴先锋自由无疆
sainkho_多图
那男人是Nick Cave ?

S娘娘是太厉害的人声女伶 满世界都是她的介绍:  这里可以试听:http:/www.douban.com/subiect/1459939/?i=2

Sainkho Namtchylak 来自西伯利亚南部的图瓦民主主义共和国,这个国家毗邻蒙古。她被称为图瓦的国宝,图瓦人的音乐最有特色的就是能够同时发出高音和低音两个声部的喉音唱法。

Sainkho Namtchylak 是当今世上最令人惊叹的超级女伶,凭借其七个八度的宽广音域、出神入化的演唱技巧,最重要是勇于吸纳各种音乐艺术的实验精神,将历史悠长的双声唱法与西方前卫乐潮作出最大胆成功的融合。她曾与许多前卫大师,前后推出过《Out Of Tuva 来自图瓦》、《Tun-Gus-Ka Gu-Ska》、《Letters》、《Ser-gei Cher-now》、《Seven Songs for Tuva》、《Naked spirit》、《Stepmother City 继母城市》等专辑,她的作品不走传统的歌谣路线,而是将图瓦的双声唱法、蒙古的长调歌谣结合西方爵士乐、古典音乐、环境音乐,塑造出一种实验风格的东方音乐,并特别强调声音技巧的表现。

《TIME OUT: SEVEN SONGS FOR TUVA》---这是SAINKHO献给祖国图瓦的作品.
她在CD内页写道:我将这张作品献给图瓦人民,以及我在图瓦及其他国家的朋友。我希望总有一天我的同胞能够理解,我是个属于全世界的艺人,我所创作的音乐没有国界。我谢谢你们陪伴我度过难关、协助我康复。希望我还能为你们唱歌许多年。

  这张专辑里充满了忧伤的情绪,歌词多涉及了死亡与遗世独立的孤独感:

  我生来就是要死亡的,请给我自由
  或许我已经频临死亡,但我仍将为你歌唱。无父无母孤独的我,蹒跚行走与人间,有一天,我将倒下死亡。我的身体就像树,哪儿是我埋葬之处?我的歌声就像鹿鸣,何时会破裂消失?
  我是个赤裸的灵魂,是的,就像个天真的孩子,穿越人间。不要怪我,果子成熟了,就会落地。就像太阳与月亮,我是个赤裸的灵魂。

http://cabymama.blogcn.com/articles/%E8%B5...%BB.html

Artist: Sainkho Namtchylak
Album: Cyberia : Suite For The Voice A Cappella
Genre: Avant Garde, Throat Singing, Folk, Free Improvisation
Label: hatOLOGY
Recording Date: 2011
Format: CD

Style

Sainkho Namtchylak is an experimental singer, born in 1957 in a secluded village in the south of Tuva. She has an exceptional voice, proficient in overtone singing; her music encompasses avant-jazz, electronica, modern composition and Tuvan influences. In Tuva, numerous cultural influences collide: the Turkic roots it shares with Mongolia, Xinjiang Uighur and the Central Asian states; various Siberian nomadic ethnic groups, principally those of the Tungus-Manchu group; Russian Old Believers; migrant and resettled populations from the Ukraine, Tatarstan and other minority groups west of the Urals. All of these, to extents, impact on Sainkho's voice, although the Siberian influences dominate: her thesis produced while studying voice, first at the University of Kyzyl, then in the Gnesins Institute in Moscow during the 1980s focussed on Lamaistic and cult musics of minority groups across Siberia, and her music frequently shows tendencies towards Tungus-style imitative singing.

With her shaved head and ‹The template Citation needed span is being considered for possible deletion.› seven-octave range[citation needed], Sainkho Namtchylak would stand out on any stage. Add her particular mix of Tuvan throat-singing and avant-garde improvisation, and she becomes an unforgettable figure. The daughter of a pair of schoolteachers, she grew up in an isolated village on the Tuvan/Mongolian border, exposed to the local overtone singing — something that was generally reserved for the males; in fact, females were actively discouraged from learning it (even now, the best-known practitioners remain male, artists like Huun-Huur-Tu and Yat-Kha). However, she learned much of her traditional repertoire from her grandmother, and went on to study music at the local college, but she was denied professional qualifications. Quietly she studied the overtone singing, as well as the shamanic traditions of the region, before leaving for study further in Moscow (Tuva was, at that time, part of the U.S.S.R.). Her degree completed, she returned to Tuva where she became a member of Sayani, the Tuvan state folk ensemble, before abandoning it to return to Moscow and joining the experimental Tri-O, where her vocal talents and sense of melodic and harmonic adventure could wander freely. That first brought her to the West in 1990, although her first recorded exposure came with the Crammed Discs compilation Out of Tuva. Once the Soviet Union had collapsed, she moved to Vienna, making it her base, although she traveled widely, working in any number of shifting groups and recording a number of discs that revolved around free improvisation — not unlike Yoko Ono — as well as performing around the globe. It was definitely fringe music, although Namtchylak established herself very firmly as a fixture on that fringe. In 1997 she was the victim of an attack that left her in a coma for several weeks. Initially she thought it was some divine retribution for her creative hubris, and seemed to step back when she recorded 1998's Naked Spirit, which had new age leanings. However, by 2000 she seemed to have overcome that block, releasing Stepmother City, her most accessible work to date, where she seemed to really find her stride, mixing traditional Tuvan instruments and singing with turntables and effects, placing her in a creative firmament between Yoko and Björk, but with the je ne sais quoi of Mongolia as part of the bargain. A showcase at the WOMEX Festival in Berlin brought her to the attention of many, and in 2001 a U.S. tour was planned.

引用
先从Sainkho Namtchylak说起,生于俄罗斯联邦图瓦共和国,祖先是游牧民族,自小学习歌唱,曾组过民谣摇滚乐团。长大后到莫斯科学习声乐,除学习图瓦传统的双声唱法(Throat singing/khoomei),也包括喇嘛与萨满巫教的传统声乐技巧(图瓦的传统信仰是萨满教,后来因为曾被蒙古统治过,所以国教改为藏传佛教)。

Sainkho那出神入化的演唱技巧固然让人惊艳,结合图瓦传统双声唱法、喇嘛与萨满巫教的传统声乐与当代发声技巧,时而像歌剧男高音般清亮,时而像鸟鸣、孩童撒娇、深沉的低吟,人们不免拿她跟Bjork、Zap Mama、Patti Smith、Nina Hagen或者Maja Ratkje相提并论,但其实奠定她在当今乐坛的特殊地位以及赋予她的音乐跨乐种、跨文化吸引力的,却是她一直坚持的实验精神。

从她每张专辑都试图破格,把别具一格的演唱结合西方前卫爵士、即兴音乐、各地传统乐以致电子乐,加上诗化歌词,Sainkho成功塑造出一种特别强调声音技巧表现、而兼具许多不同国家传统的世界音乐。

著名音乐杂志《The Wire》这样形容Sainkho的音乐:运用打击效果的喘息、啧舌声与高音域尖叫作为表情,在流行与传统音乐之外独树一帜,立足于完全不同的境界:一个纯人类、受此纪律驱动而超凡的境界。其它如《Jazz Review》以"她歌唱的核心普世性与人性几乎有种大自然元素般的魅力",以及芝加哥世界音乐节的"令人惊叹的即兴家、声乐极端份子"等词表扬Sainkho在世界音乐圈的地位。

《Cyberia》是Sainkho Namtchylak老太最新的录音室专辑,于2009年录制于莫斯科,全篇无伴奏几乎无歌词,都是老太那几近虐待人类肉嗓到极限的哼唱,是一张挑战自我同时也挑战人类对嗓音接受能力极限的神作,从未听过老太以前作品的朋友们最好先别下载了,肯定接受不了的,这张作品太过凛冽。


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Sainkho Namtchylak (born 1957) is a singer originally from Tuva, an autonomous republic in the Russian Federation just north of Mongolia. She is known for her Tuvan throat singing or Khöömei.



专辑曲目

CD1

01. Ary-Bory Aksy Chetken... [05:09]
02. Sagly Hadip Chidir-La Boor... [02:01]
03. Chazin Shagda... [03:18]
04. Alaak Shinaa... [03:16]
05. Thinking Easy, Talking Friendly [02:53]
06. Lilla Evening [03:19]
07. Smile! [01:23]
08. Heree Chokka... [05:59]
09. My Dear Left... [03:36]
10. The Snow Fall Without You... [05:22]
11. Shamanotuning [03:39]
12. Survival Song [01:32]

CD2

01. Morning Hoomi [04:54]
02. Syberian One [09:49]
03. Dei-A-De [07:01]
04. Hylba-Hulbus-Hmnga [05:50]
05. Petrogliphs [05:05]
06. Syberian Two [04:36]
07. Hynguraarang [05:21]

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