One is that Aksenov's survey of Tuvan styles was limited in scope, though he was a highly educated and skilled composer and musician, who seemed to take his research most seriously. More recently, there have been such resources such as Mark van Tongeren's quite interesting Overtone Singing, various CD liners of varying quality and accuracies, and There are major discrepancies between Aksenov's descriptions and other older sources, and those of other more contemporary observers, and several plausible explanations. Aksenov, a Russian composer who surveyed Tuvan Khoomei styles in the 1940-50s. The most commonly cited source when I began my research in the early 1990s was translated from Tuvan Folk Music, a book published in 1964 by A. For one thing, affecting western scholars, there have to date been very few texts about Khoomei in Western European languages. There is no real consensus on Khoomei categories this is a complicated issue due to a number of confusing factors. Even this description must take into consideration the hearing, or conditioned hearing of the listener as much as the intention and execution of the singer. However, there are great differences between the different types of throat-singing for example, some styles are multiphonic whereas other styles are not.
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You can find some information/links about other regions below.Īll styles of Tuvan Khoomei involve controlled tension in and manipulation of the diaphragm, throat, and mouth. While I am familiar with other types of harmonic singing and chant, the main focus of this page will be Tuvan. Tuvan throat-singing, or Khoomei, is the area with which I have the most extensive experience. Types of Throat-Singing with Tips Under Construction Tuvan Throat-Singing