throat singing

throat singing. Throat singing is a vocal technique where a single performer produces multiple distinct pitches simultaneously, creating a rich, harmonic sound. This practice is most famously associated with the pastoral and shamanic traditions of inner Asia, particularly in regions like the Altai Mountains and the Sayan Mountains. It has also been documented among the Inuit peoples of the Arctic and in small pockets of cultures worldwide, often linked to animistic worldviews and close relationships with the natural environment.

Origins and history

The precise origins are ancient and likely predate written history, deeply entwined with the spiritual practices of nomadic peoples. Among the Turkic peoples of southern Siberia, such as the Tuvans and Altai people, it evolved from imitating the sounds of the landscape, including wind, water, and animals. In Mongolia, particularly among the Khalkha and western groups, it is historically connected to herding life and Lamaist Buddhist rituals. Parallel traditions developed independently among the Inuit, where it was practiced as a game, often by women, in communities across Canada and Greenland. Early Western encounters were recorded by explorers and ethnographers like Mikhail Aleksandrovich Castrén and later, the Soviet-era research of A. N. Aksenov helped document the Tuvan forms systematically.

Cultural significance

Traditionally, it held profound spiritual and practical importance, serving as a bridge between the human, natural, and spirit worlds. In Siberia and Mongolia, it was often performed during rituals to honor local spirits of mountains, rivers, and the sky, and was sometimes part of shamanic ceremonies. For herders, it was a way to communicate with and soothe their animals across the vast steppe. Among the Inuit, it was a social activity and contest, known as katajjaq, that strengthened community bonds. The practice faced suppression during periods of religious persecution under the Soviet Union and in Communist Mongolia, but it persisted as a potent symbol of ethnic identity and cultural resilience.

Techniques and styles

The fundamental technique involves precise manipulation of the vocal folds, soft palate, tongue, lips, and diaphragm to isolate and amplify harmonics (overtones) from a fundamental drone. The most renowned styles originate from Tuva, including khoomei (the generic term), sygyt (a high, whistling style), and kargyraa (a deep, growling style using the false vocal folds). In Mongolia, the dominant form is khöömei, with regional variations like Urtiin-influenced styles. Altai peoples perform kai, often with epic storytelling. The Inuit technique, distinct from Asian forms, involves two women standing close, creating a rhythmic game of interlocking breaths and sounds. Other styles include the chöömej of western Mongolia and the Bashkir uzlyau.

Notable practitioners

Early masters who gained international recognition include Kongar-ool Ondar, a charismatic Tuvan singer who performed with Frank Zappa and at the Smithsonian Institution, and Kaigal-ool Khovalyg, a founding member of the ensemble Huun-Huur-Tu. The group Yat-Kha, led by Albert Kuvezin, fused the tradition with rock and roll. From Mongolia, masters like Ganbold and the late Jargalsaikhan are revered. Contemporary artists pushing boundaries include Sainkho Namtchylak, a Tuvan avant-garde vocalist who collaborates with figures like Evan Parker, and The Hu, a Mongolian folk metal band. Inuit performers like Tanya Tagaq have brought katajjaq to global stages, winning the Polaris Music Prize.

Modern adaptations

Since the late 20th century, it has experienced a global renaissance and fusion with diverse musical genres. Ensembles like Huun-Huur-Tu and Alash have toured worldwide, introducing the sound to audiences at venues like Carnegie Hall. It has been incorporated into film scores for movies such as *The Weeping Camel* and *Genghis Blues*, a documentary about Kongar-ool Ondar. Western composers like Karlheinz Stockhausen and John Tavener have drawn inspiration from its harmonic possibilities. It frequently appears in world music festivals, new-age music, and collaborations with jazz musicians like Django Bates. This global exchange has sparked debates about cultural appropriation but has also led to formal academic study and preservation efforts supported by organizations like the International Council for Traditional Music.

Category:Vocal music Category:Central Asian music Category:Indigenous music of the Americas