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The Alash ensemble, a throat singing band from Tuva. Tuvan-Mongol throat singing, the main technique of which is known as khoomei (/ x u ˈ m iː / or / x oʊ ˈ m eɪ /; Tuvan: хөөмей, höömey; Mongolian: ᠬᠦᠭᠡᠮᠡᠢ, хөөмий, khöömii, [1] Russian: хоомей; Chinese: 呼麦, pinyin: hūmài), is a style of singing practiced by people in Tuva and Mongolia.
He later sang more Mongolian folk songs using his throat singing skills. Batzorig was born in 1977 in Zag, Mongolia. [1] In 2014, he started throat singing on YouTube. He uploaded a video of him singing "Chinggis Khaanii Magtaal", a Mongolian folk song, on top of a mountain in Bayanhongor, Mongolia, whilst playing a morin khuur.
"Singing Stories, in 2 Tones at Once" article, NY Times, January 18,1993. Huun Huur Tu's MySpace page; Washington Post Article "Tuvan Throat-Singers Perform Feats of Harmonic Acrobatic" January 15, 1996. Huun Huur Tu: National Geographic World Music bio "Throat Singers of Tuva Return to Eastman" January 11, 2006.
Overtone singing, known as höömij (throat), [1] is a singing technique also found in the general Central Asian area. This type of singing is considered more as a type of instrument. [2] It involves different ways of breathing: producing two distinctively audible pitches at the same time, one being a whistle like sound and the other being a ...
Throat singing techniques may be classified under an ethnomusicological approach, which considers cultural aspects, their associations to rituals, religious practices, storytelling, labor songs, vocal games, and other contexts; or a musical approach, which considers their artistic use, the basic acoustical principles, and the physiological and mechanical procedures to learn, train and produce ...
Bukhchuluun Ganburged (Mongolian: Бүхчулуун Ганбүргэд) (born 25 February 1985 in Ulaanbaatar), also known as Bukhu, is a Mongolian Australian virtuoso throat-singer and Morin Khuur player.
Tuvans are known abroad for khoomei , a kind of overtone singing. Traditionally, Tuvan music was only a solo effort. The musician's intention was usually to emphasise timbre and harmonics over rhythm. Performances were often in places with good natural acoustics, such as caves, cliffs, and rivers, with the performer taking long pauses to allow ...
Their throat singing has been acclaimed as "a way of expressing emotion quite unlike any other.” [2] The musicians also experiment with balancing acts between diverse cultures: in the course of the years, Egschiglen participated in a number of cooperation projects with musicians from various cultural areas.