Overtone singing (throat singing)
Overtone singing, commonly referred to as throat singing, is a unique vocal technique that allows singers to produce multiple notes simultaneously. Originating from the Mongol tribes of East Asia, this art form has spread worldwide, with various cultures, including the Inuit and Xhosa, developing their own distinct styles. The practice typically begins with a low foundational drone, known as the undertone, which serves as a base for higher harmonic notes called overtones. Throat singers expertly manipulate their vocal apparatus, including the larynx, tongue, and lips, to create these complex sounds.
Different regions showcase diverse approaches to throat singing; for instance, Tuvan throat singing emphasizes imitating natural sounds and involves intricate harmonics, while Inuit throat singing often features rhythmic patterns and communal participation. Additionally, the recent revival of throat singing has seen it integrated into modern musical genres, allowing artists to connect with their cultural heritage and keep traditional practices alive. Overall, throat singing is not only a deeply rooted cultural expression but also a dynamic and evolving art form that continues to captivate audiences globally.
Overtone singing (throat singing)
Overtone singing, more commonly called throat singing, is a musical style that involves producing multiple notes simultaneously. The Mongol, an Indigenous people in East Asia, first developed this type of singing, and it has since spread across the globe. Many societies, such as the Inuits, have developed their own styles of throat singing.
Throat singing involves first producing one low note, called the undertone. Several higher notes, often specifically chosen to complement the undertone, are produced at the same time. These notes are called the overtones.
Throat singing has seen a significant modern revival. It has become a popular pastime among Inuit youth, who believe it connects them to their heritage. Artists have also blended throat singing with other genres of music.
Background
Throat singing is a form of vocalized musical expression that dates back to prehistoric times. It was developed in Indigenous societies across the world. Many experts believe that throat singing first occurred in the Turkish Mongol tribes in Central and East Asia. They developed it as a form of communal music, using it for call-and-response songs, dances, and religious musical performances. Some communities believed that throat singing could be used to communicate with the supernatural world.
Mongol tribes were nomadic. Because they constantly moved, their influence soon spread throughout Asia. Over time, many other groups developed their own unique styles of throat singing. Many geographically distinct variants of throat singing have survived to the modern era. The practice is often considered an important part of an Indigenous group's historic culture.
Some modern musicians have also used throat singing. These artists perform as touring musical acts, blending traditional throat singing techniques with contemporary genres, such as rock, pop, and electronica. Many modern throat singers use the practice to keep elements of their peoples' history relevant.
Overview
Throat singing begins with a fundamental drone. This drone is sometimes compared to the sound of a bagpipe. While often low in pitch, the drone can be moved to higher notes if a musical composition demands it. The drone does not contain lyrics or even coherent syllables. Instead, it serves as a foundational undertone for the rest of the piece.
Once the drone is established, other sounds are brought into the piece. This is accomplished with high-pitched, melodic harmonics. Collectively, these other sounds are called overtones.
To produce these notes, throat singers vibrate air in a very precise manner. This vibration produces notes that match those of the undertone but are a set number of octaves higher on the musical scale. This produces the characteristic harmonic effects associated with throat singing. For additional inflection, the overtone may be slightly different from the undertone. For example, the overtone may be two octaves and a minor seventh higher, producing an imperfect harmonic effect. In many cases, the undertone may play a consistent foundational note while the overtone creates a harmonic melody. Several overtones may be produced at once. In traditional throat singing, the undertone and overtones are all produced by a single individual at one time.
Throat singers produce multiple notes simultaneously through specialized movements. They precisely position the larynx, tongue, jaw, lips, and velum to vibrate the air in a unique manner. While the basics of creating an undertone can be learned quickly, the creation of complex harmonies takes many years of difficult training to master.
Many distinct, regional varieties of throat singing exist across the globe. One of the most popular genres is Tuvan throat singing. Tuva is a small, rural section of modern Russia. The region is located just north of Mongolia. For this reason, Tuva was exposed to Mongolian nomads throughout much of its history. The Tuvans were one of the first groups to adopt throat singing, and it has remained an important part of the regional culture.
Tuvan throat singers are trained from early childhood. They utilize a unique form of breathing that allows them to maintain unbroken notes and melodies for an exceptionally long time. Young Tuvan throat singers are also trained to use the folds of their throat as additional reverberation chambers, giving Tuvan throat singing a unique tone and depth.
Traditional Tuvan throat singing is less concerned with melody than other styles of music. Instead, Tuvan throat singers seek to imitate the sounds of the natural world. The many subtypes of Tuvan throat singing include xöömei, which imitates the sound of air passing over rocks; sygyt, which imitates the sound of birdsong; and borbangnadyr, which imitates the sound of a gurgling river.
The Inuit peoples of northern Canada have their own style of throat singing. Unlike many other forms of throat singing, two or more musicians are usually involved in Inuit throat singing. For this reason, Inuit throat singing serves a different purpose. Originally, Inuit throat singing was used as a form of competition among women while the men were out hunting, as a lullaby for children, and as a form of communal song.
Whereas Tuvan throat singing focuses on complex harmonics, Inuit throat singing focuses on breathy rhythmic sounds. Inuit throat singers often quickly move between low-pitched rhythmic undertones and higher-pitched notes. While working together, Inuit throat singers often form complex rhythmic patterns.
Xhosa throat singing, called eefing, is also communal. It tends to be deeper than other styles of throat singing. Eefing utilizes two notes at a time, one of which has a slightly higher pitch than the other. When performed in large groups, eefing forms complex rhythmic patterns used for dancing or group songs.
Bibliography
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