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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.
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 ...
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 ...
The traditional religion of Tuvans is a type of Tengriism, ... commonly known as throat singing or as khoomei. ... (in Mongolian) Sečenbaγatur, Qasgerel, Tuyaγ-a ...
"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.
Polyphonic overtone singing Pachelbel's Canon, performed by Wolfgang Saus Chirgilchin performing various styles of Tuvan throat singing.. Overtone singing, also known as overtone chanting, harmonic singing, polyphonic overtone singing, or diphonic singing, is a set of singing techniques in which the vocalist manipulates the resonances of the vocal tract to arouse the perception of additional ...
Aryun-Goa's music often incorporates elements of Buryat and Mongolian folklore and mythology. Her work has been praised for preserving and modernizing traditional cultural elements, making them accessible to contemporary audiences. By mastering throat singing as a woman, she has also challenged gender norms within traditional Buryat music.
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