Regional Distribution of KHOREKTEER and its typology / International Scientific Center of Khoomei, Tuva

Regional Distribution of KHOREKTEER and its typology
Method of performance KHOREKTEER	The method of khorekteer itself is the basis for all archaic styles and therefore each kind of melodic singing is unthinkable without introduction based on this method.
Other traditional methods of performance whichrequire special professional skills	They exist together with other styles as sub-styles and differ by subtle technical traits in performance. They do not force these styles out and become an integral part enriching their structure.
Five styles are recognized in Tuvan solo double-voiced singing.	These are five styles: khoomei, sygyt, kargyraa, ezengileer, and borbannadyr each of which include many sub-styles.
TYPOLOGY	Style Resonance zone, drone Character of breathing Articulation Melody and musical-expressive specifics Khoomei Middle register F, F sharp, G can be sung with and without words, chest and mouth resonators Basic (khorekteer), smooth breathing =, \ Overtone melodic (8^th-12^th overtones) Borbannadyr Lower or middle register, mouth or partially nose resonator Khorekteer, spasmodic rhythm, modulations, middle tension =, \ Without and with melodization Sygyt High and tense Constricted breathing, very tense йо, й, йа can be alternated with text Overtone melodic (8^th-12^th overtones), song melodic with vibrato Kargyraa Low guttural sound, the open mouth resonates Khorekteer, smooth breathing, open mouth, can be sung with text а, =, \, э open Drone with third turns, overtone melodic (6^th-12^th overtones, song melodic Steppe kargyraa Low, open, chest, soft, velvet timbre. Outward resonator Very long breathing а, =, \, э open Overtone or song melodic (6^th-12thg overtones) Ezengileer Middle register, vibration with lips Smooth breathing, rhythmic pulsation as in ambling of a horse а, =, и, \, э, ю, я with vibration Quiet overtone melodic, high whistling timbre Chylandyk F sharp, G, middle register, singing without words, mouth resonator Middle in length breathing =, \. Nasal long sound Folk terminology reflected the timbre of these styles, both as independent timbres and in comparison with other means of sound-extraction.
KHOOMEI	A bright sound, by its timbre, of a humming middle tessitura, is designated in tales khoomei. Khooledir khoomeileerge cher sirgeini bergen, “during the humming of khoomei, the earth trembled”. According to our observations the style khoomei can be considered an initial or basic style. Khoomeizhis of old and young generations say that khoomei is the father of a forefather of khorekteer. The majority of musicians prefer this style because of its relatively convenient sound-extraction in the middle register. Deep sounds of khoomei, especially in lower register, resemble the unison of oboe and clarinet. In ergi khoomei (old khoomei), the basic ostinato sound is more deep than in the borbannadyr style and has a more expressed overtone melody. The sounds in khoomei are executed with closed lips as pronouncing the consonant “v”. This style is intermediate in timbre between the sounds extracted by schalmeis and trumpets. It is mostly characterized by power, richness in tone, and melodiousness. In Tuvan heroic tales throat singing appears as a firmly established musical phenomenon. For example, “a bogatyr (an epic hero) performs khoomei with the force of a thousand people, his singing makes the earth and the sky shudder, and brings mountain tops crashing down”. Though the power of this singing is exaggerated to the extreme, the storyteller describes the force of sound emission very accurately. In connection with this we should give a delicate remark of B.I. Tatarintsev who investigated the place and role of throat singing in Tuvan epics. He wrote: “The traveling hero’s throat singing is characterized by stock epithets of one type yndynnyg, yiangylyg, syrynnyg “doleful, plaintive, drawling” which, apparently, characterize the uneasy emotional state of a hero”. The researcher gives an example from a variant of a lyric tale about Khan-Khulyuk. After singing the hero’s “pining chest expands and his crowded thoughts broaden”. Thus, Tatarintsev was the first to note this function of throat singing: to pass time and make oneself comfortable on journey. At first glance it seems that it is impossible to think about a more recent origin of the khoomei style in comparison to other styles because I find the same principle of articulation in all the styles in the framework of the given traditional musical culture. However, if we delve deeper into the nature of khoomei, with its ways of intonation, the assumption the recent origin of khoomei is well supported. The style of khoomei, which holds a transitional position between ordinary and double-voiced singing often performs a utilitarian function as a lullaby song in the special style opei khoomeii (lullaby khoomei). When performing this style the performer accompanies his singing by a rocking of his body from one side to another. The performer uses clavicular breathing. He sings the words by moving his lips slightly. The movements of his lips are intermediate between speaking and singing. While lulling a baby, the performer sings through his nose. There are scarcely any overtone melodies in his singing. Before people the performer sings loudly, with a great support of the diaphragm and with a distinct pressure of pectoral resonators while alone in the yurt, lulling a baby, the performer sings quietly.
SYGYT	For the designation of a high timbre, there existed the term of sygyt cyyrladyr cygyrtyrga kok deer ayazyp turgan “during the piercing singing of sygyt, the blue sky became clearer”. In the sygyt style, overtones are produced in a high whistling timbre similar to that of the piccolo in the same register. The basic ostinato moves between the middle tones of the Great octave throughout the piece from la of the first octave to la of the third octave. In sygyt style the vowels are not articulated and the sounds, in contrast to those in other styles, are produced at an optimal strain of respiratory ways. The main feature distinguishing sygyt from any other style is in the technique of sound extraction: the root of the tongue is moved forward and the melody is mostly produced by the vibration of the uvula and its approaching the soft palate. In sygyt style the uvula is the main organ which regulates the stream of air. Double voice usually appears in low and high registers simultaneously. When one voice is produced the overtones are absent. Typical of the sygyt style are melodies ascending to high pitch sounds. For example, in kishteer performed by Tumat Gennady, one can hear a glissando ascending an octave up from the 10th and 12th overtones of the 2nd basic ostinato note. Additional overtone sounds occur as a tremolo between two sounds which also differentiates the sygyt style from other styles.
KARGYRAA	A low sound was designated among people as kargyraa kaargyraalaarga khayaa dash kaanayndyr bustup badip turgan, “during the singing of kargyraa, the sheer cliffs vibrated, rumbled, and fell down”. The folk performers divide this style in sub-styles by timbre and pitch. Khovu kargyraazy (steppe kargyraazy) has a higher, lighter and softer sound while a lower, louder sound characterizes kozhagar kargyraazy(mountain or cave kargyraazy). The main form of the kargyraa style is singing with a clear logical semantic connection of sounds. It is based on ornamented melodies of wide breath. Timbre contrast and register amplitude distinguish different sub-styles. Among these sub-styles khovu kargyraazy (steppe kargyraa) is one of the most popular sub-styles of kargyraa. Khovu kargyraazy is characterized by drawling, soft, and broad sound. This style is performed to show the spaciousness of flat steppes and mountains. An introduction with text is usually sung. The basic ostinato sound is produced with a half-open mouth. Overtones alternates with vowels. One of the vowels а, э, =, \ corresponds to each overtone. Dag kargyraazy (mountain kargyraa) is also popular. This style is more stern. It expresses the power of the mountains. The timbre is more dense, nasal, and dimly. The third style is dumchuk kargyraazy (nasal kargyraa). A characteristic feature of this sub-style is a regular release of air with a sharp double inhalation and exhalation through the nose and mouth. The powerful vibration has a positive effect on performer’s lungs and body. According to my informants singing in this way makes it possible to relax and concentrate oneself spiritually. When singing, the performer does not feel any disharmony. The frequency range of the produced sound is quite wide. The sound is more velvet-like, and softer due to the use of nose resonator. This is a typical style of the traditional Mongun-Taiga performance school.
*BORBANNADYR*	The borbannadyr style is related to the khoomei style in respect to intonation. A melodious introduction using khorekteer is performed with the same position of lips (close to each other) as with the khoomei style. Timbre norm, intonization with falsetto inflection, narrow modal scale with short stable formulae, and ostinato strophe rhythm with ornamentation are common to these two styles. The mechanism of sound extraction, especially acoustic manipulations, rather than the steady melodious turns characteristic of the khoomei style is a more important point in borbannadyr style. The coexistence of these two styles can be explained as a manifestation of the features of an early folk tradition which is characterized by an organic relationship of melodic expression. During a period of singing the tempo increases and the melody becomes more complex, descending by leaps from the twelfth to the seventh overtone, more rarely to the eighth overtone. The ostinato sound remains intact but its pitch occasionally oscillates within the three middle sounds of the Great octave. Contrary to khoomei, the melodious phrase of which is performed within one breath, the borbannadyr style is always interrupted, with the process of breathing plays a lesser role for articulation. The performer of this style usually begins by reciting of the words of a song typical only to the borbannadyr style. Here is an example: Bolur-daa bol, bolbas-daa bol Whether it comes out or itdoesn’t Borbannadyp berein shumna I shall sing borbannadyr anyways In rhythmical respect the tune is more schematic. This is the tendency of the schematization of the borbannadyr style that involves outward ostinato repetition of musical turn. Similarities in the techniques of the khoomei and borbannadyr styles makes it possible to pass from one style to another. In the khoomei style the lower voice stops on a sustained (ostinato) sound and the singer can select overtones (which create additional melody, melodious recitation with words of a song) from this sound while in the borbannadyr style the sound seems to throw away rolling sounds without words. The tune is based on an intonization approximate to onomatopoeia but this is, more likely, not a concrete but somewhat generalized imitation. Therefore, the melodies in khoomei style, by its very nature, are of a radically different kind of those in borbannadyr style. What’s more, if one compares the peculiarities of the timbres of styles of the above styles one can get additional idea of a concrete style too. In ensemble performance of khoomei, kargyraa, and sygyt styles (except onomatopoeic – ezengileer and borbannadyr styles) the singers seek to keep to basic forms, producing only slight additional tones which are mostly ornamental. The style borbannadyr is traditionally sung individually. This makes it possible for a performer of this style to introduce some individual traits in the form of his rhythmical intonization. This style is among the main independent styles because it has its own structure, a separate mechanism of sound extraction, and a characteristic timbre coloring. The performance of this style does not require the use of other styles. With regards to its tessitura, register, rhythm, and structure of melodies, borbannadyr style represents quite an independent artistic phenomenon which can be optionally synthesized in order to decorate the melody of other styles. For example, there are synthesized styles such as borbannadyr of sygyt, borbannadyr of kargyraa, or borbannadyr of khoomei.
ESENGILEER	Ezengileer also have their own peculiarities of rhythm, timbre, and intonation. Ezengileer represents an independent style of khorekteer. According to old people, ezengileer style has completely retained its meaning up to today. The style itself, as assumed by some researchers, seems to be relatively recent in origin. The appearance of this style was possible not earlier than 1^st millenium AD, that is, in the time when the appearance of stirrup in horse harness could have a perceptible influence upon Tuvan music. It is believed that the ezengileer style was formed later than the sygyt style but, undoubtedly, it was formed on its basis and in a constant interaction. If we compare ezengileer with sygyt it is not difficult to note that the performance of ezengileer differs from sygyt by its slow singing and distinct scancion. Another distinctive feature of the ezengileer style is the periodic release of air through the nose with a sharp double exhalation. The sound-formation of styles is preconditioned by aesthetic prerequisites, acoustic peculiarities of the means of sound extraction, and timber. The melodious introduction is absent in ezengileer style. Ezengileer style is represented a peculiar, independent phenomenon in function also and its performance is connected to horse riding. The timbre of this style is softer than that of the sygyt style. The overtone melodies appear usually on 8th, 9th, 11th, 12th, and 13th overtones from the low ostinato sound.
*SUBSTILES*	In the kargyraa style alone one can count more that five common freely interchanged motifs: khovu kargyraazy (steppe kargyraa), kashpal kargyraazy (hill kargyraa), dag kargyraazy (mountain kargyraa), kozhagar kargyraazy (mound kargyraa), oidupaa kargyraazy (kargyraa of the singer Oidupaa) and so on.
KHOREKTEER SYGYT KARGYRAA KHOOMEI BORBANNADYR EZENGILEER KISHTEER DESPEN BORBAN
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INTERNATIONAL SCIENTIFIC CENTRE “KHOOMEI”, KYZYL, TUVA

	MISSION Preservation and development of traditional culture of Tuvan throat singing khorekteer. Organization of scientific research for revealing and study of throat singing of the peoples of Sayan-Altai Region and other parts of the world and their propaganda. Creation of archives khorekteer recordings and their analysis. Training and probation of young performers including foreign performers in the experimental laboratory of the center. Participation in international music contests and organization of international symposia, seminars, conferences and festivals of Tuvan throat singing khorekteer. Promotion of scientific-practical international contacts. Social protection of performers.
	NEWS 01.05.2008 We are honored to invite you to participate in the 5^th International Ethnomusicology Symposium “Khoomei (throat-singing) is a Cultural Phenomenon of the Peoples of Central Asia” to be held July 25-28, 2008 in Kyzyl, the capital of the Republic of Tuva. The problems of the functioning and development of throat singing in the different regions will be discussed. Within the framework of the Symposium the 5^th International festival of throat singing with participation of the performers from Moscow, Republic of Altay, Republic of Khakasia, Republic of Buryatia, Republic of Kalmykia, Republic of Yakutia, Republic of Bashkortostan, Mongolia, Kazakhstan, Kyrgyzstan, Turkmenistan, Japan, USA, France, Holland, Austria, Turkey and Norway will be held. The issues of musical ethnography on following directions will be discussed: 1. Comparative study of double-voiced throat-singing (Khoomei). 2. Genres of traditional music ( ritual music, epos, lyric poetry). 3. Musical instruments and instrumental music. 4. Traditional music and religious systems. 5. Issues of migration of musical phenomena. Interaction of nomadic and settled cultures. Musical folklore as a source of historic information on ethnogenesis of peoples of Central Asia. In work of the symposium scientists of khoomei studies, physicians-physiologists, scientist physicists, musicologists, scientists of folk arts, throat singing performers, also representatives philological, history sciences will take part. Their themes are closely connected with marked problems. Registration fee is 300$ US. Different exhibitions, show of movies, trips to the countryside of Tyva are in the program. The thesis of scientific papers should be no more than 2 A4 (1,5 interval) both in English and Russian languages should be sent not later than 1^st April 2008 (Thesis received after the 1^st of April will not be included in the final thesis publication). We kindly ask you to include the best people’s khoomei performers into the list of your delegation (not more than 2 people) to participate in the concert of the traditional music. Accommodation and travel expenses are paid by participants; food and cultural program are paid by organizing committee of the Symposium. We look forward to your acceptance. Organizing Committee: International Scientific Centre “Khoomei” 46,Shchetinkin-Kravchenko str . Kyzyl, Republic of Tyva, Russia, 667000 tel: +7 (39422) 2-33-18 fax: +7 (39422) 3-38-97 mobile: +7 913 342-43-87 e-mail: kyrgys@yandex.ru

Khorekteer exists in five style: khoomei, sygyt, kargyraa, borbannadyr, ezengileer. Sub-styles: chylandyk, despen borban, opei khoomei, buga khoomei, kanzyp, khovu kargyraazy, kozhagar kargyraazy, dag kargyraazy, kargyraa of singer Oidupaa, uyangylaar, damyraktaar, kishteer, serlennedyr, byrlannadyr. more>>

The history of investigation of Tuvan throat singing khorekteer accounts more than hundred and fifty years. For the first time khorekteer was recorded in Easten Tuva in 1865. P. Ostrovskinh (1897), E.K. Yakovlev (1989), G.E. Grum-Grzhimailo (1901), A.V. Anokhin (1910), E.V. Gippius (1927), A.N. Aksenov (1944), S.I. Vainshtein (1956) made their contribution in the investigation of Tuvan throat singing khorekteer. more>>

The disk of eminent throat singers Kyrgys Soruktu, Sat Manchakai, Sanchy Kyzyl-ool and M. Kombu was released in 30’s of 20^th century. Ak-Ool Kara-Sal, Khomushku Idamchap, Marzhymal Ondar, Maksim Dakpai, Oorzhak Khunashtaar-ool were the followers of khorekteer tradition. They were the ones who contributed to the preservation and development of tradition of Tuvan throat singing khorekteer. more>>

SHAMANISM IN TUVA Beside songs, tales and legends throat singing khorekteer and shamanic kamlanie are distinguished as main performance traditions which play an important role in the life of Tuvan ethnos. It is practically impossible to combine these forms because they performed different functions in culture of Tuvans. Throat singing khorekteer is an acoustical-physiological phenomenon in its nature and structural parameters tightly connected with lyric songs and instrumental music while shamanic kamlanie is a ritual singing of shaman which is sung by the “voice” of spirits helpers being a intermediary between them. The main goal of Tuvan shamanism as a belief is to establish harmony between man and his surrounding world. more>>

Ensemble Tyva was founded in Kyzyl in 1987 by musicologist and folklorist Zoya Kyrgys. Its repertoire contains some hundreds folk songs from all districts of Tuva. The performers of this group are the best representatives of Tuvan throat singing khorekeer the fascination of which is in the fact one person produces simultaneously two or three melodic lines. more>>

Director: Z.Kyrgys Copyright © 2003 | Pictures painted by A.Chernyak | Designed by I.Denisov 667000, Shetinkina-Kravchenko st. 46. Kyzyl, Republic of TYVA Russian Federation
fone +7 (39422) 2-33-18, +7 (39422) 3-38-97, +7 (39422) 1-14-29

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“TYVA”

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HISTORY OF INVESTIGATION OF KHOREKTEER , TUVA

HISTORY OF INVESTIGATION OF KHOREKTEER

Ustu-Hure

1897 P.E. Ostrovskikh
1897 E.K. Yakovlev
1897 G.E. Grumm-Grzhimailo
1914 Douglas Carruthers
1927 E.V. Gippius
Mid 30s First professional record of Tuvan solo double-voiced singing on gramophone disks under supervision of E.V. Gippius
1934 Release of a series of gramophone disks with classical samples of the styles of throat singing khorekteer (khoomei, kargyraa, ezengileer, sygyt, borbannadyr), songs yrlar, and instrumental folk tunes on igil.
1945 Beginning of folk studies in Tuva. Tuvan Scientific-Research Institute for Language, Literature and History (TNIIYaLI).
1956 m. Munzuk (first publication of folk melodies)
1973 Supplemented publication of “Tyva ulustun yrlary (Tuvan folk songs)
1964 A.N. Aksenov Monograph “Tuvan folk music” edited by E.V. Gippius became a landmark event in Tuvan folk studies.
1975 V.T. Maslov, B.P. Chernov The mechanism of the formation of second source of sound oscillations was established
1980 S.I. Vainshtein Article “Musical Phenomenon born in the steppes”
1995 Z.K. Kyrgys, Anat Keidor, Anthony Jahn Endoscopic experiment (Roosevelt Hospital, New-York State)

P.E. Ostrovskikh

He wrote that of a particular originality is the art of so-called khoomeileer kizhi (khomiler-kizhi) — singers performing the style khoomei (those who sing with the throat). Producing guttural sounds typical for many Asiatic peoples, “the singer, at the background of them, creates with his throat highly characteristic melodies, as of a flute; in doing so, he accompanies himself on a wooden topshuluur”. The account of P. Ostrovskikh contains the first data that considerably supplemented the existing conceptions about the ethnic culture of Tuvans. The merit of Ostrovskikh lies in the fact that he, along with other questions of their history and ethnography, considers musical art as an important part of the spiritual culture of a people. His works have not lost their relevance up to the present day.

A short account of the trip to the Todzha region of the Uryankhai Region and the importance of the Uryankhai land for southern Siberia” (Journal of the Russian Geographical Society, 1898-1899). The full diary of the Uryankhai trip, with numerous drawings and photographs and a description of the entire ethnographic collection brought from the Uryankhai land (at present in the Berlin Museum of Ethnic Studies) was, at that time, presented to the Russian Geographical Society, which had provided a considerable portion of the finances for the trip, but because of the significant cost of publication, it was not published.

E.K. Yakovlev

In a published scientific account he reports that “an extraordinary impression made by singing without words cannot be expressed with words. This singing is called “kumeyler” (khoomeileer– Z.K) and is composed of a whole range of wheezes. A singer inhales as much air as his lungs can hold and then begins producing from deep within his entrails strange rumbling husky sounds, the continuity and duration of which fully depends on his ability to control the diaphragm. Then comes a new, deep inhalation and a continuation of the mysterious sounds, accompanied on the two-stringed topshuluurum — an instrument that consists of a long neck and a body with a hollow sounding board covered with a bladder — until they are interrupted by the singer unexpectedly for a listener without any tonic or rhythmic resolution, so that the term ‘melody’ cannot be applied to his composition of mysterious sounds”.

A.V. Anokhin

One of the initiators for the recording of Tuvan songs on phonograph was the well-known collector of local lore, ethnographer, pedagogue, composer, collector and propagandist of musical folklore of Turkic and Mongolian-speaking peoples, A.V. Anokhin (1874-193) who conducted investigations among Tuvans in 1910.

He noted: “This kind of throat singing is by far more simple. It has a strict definiteness, such a definiteness that can be easily brought within the laws of existing music. And finally, this singing is not a wheeze in which it is difficult to define the height of the sound. The sounds are not produced with an open free throat but a slightly pressed one, the height of the sound being quite clear”.

Then Anokhin notes that throat singing often makes an unfavorable impression upon the listener who is not familiar with it and who has heard it for the first time. But with time he begins to like this singing and it even has a calming effect on the nerves. “This singing is, undoubtedly, pleasant for the Asiatic ear. Such double-voiced singing khoomei (there are also other names for it) is specific for Altaians, Khakassians, and Tuvans”. According to the observations of Anokhin “Of all Turkic tribes, Soyots (Tuvans – Z.K.) are the tribe that sing the most… 95% Soyots of sing. Song among Soyots is expressed by the word ‘yr’. Its melody is more developed than that of Kachintsy and Sagaits. In the art of Soyots there is no foreign influence, the melodies are original.

E.V. Guppius

The first post-revolutionary musical records of Tuvan folk songs were made in 1927 by E.V. Gippius and Z.V. Evald from the voices of Tuvan students at the Institute of the Peoples of the North and Siberia in Leningrad.

A.N. Aksenov

A.N. Aksenov was the first to reproduce on a high scientific level the structure of khorekteer singing and that of folk tunes on the traditional instruments igil, byzaanchy, and khomus.

S.I. Vanshtein

Also of interest is an article of S.I. Vainshtein published in 1981 connected with the problems of the ethnogenesis of Tuvans. Without taking on questions of musicology, the investigator conveyed the spirit of Tuvan music and gave a complete and bright portrayal of khorekteer performance. His field materials from Central Tuva and his meetings with his informant O. Aldyn-ool in 1954 served as a basis for his article. S.I. Vainshtein writes: “it was like a duet of unusual musical instruments but performed … without instruments, with the voice of one soloist on the lonely central-asian steppe, performing for himself but maybe for me too. A quarter of a century has passed but this episode remains, perhaps, the most remarkable in the long train of my souvenirs from trips around Siberia”.

В.Т. Маслов и Б.П. Чернов

The mechanism of sound-formation in solo double-voice was established in 1975.

As the authors affirm, “the whistle hole makes high frequency oscillations which then resonate in the mouth cavity, forming the sounds of different pitches. The larynx of a Tuvan singer who sings in a double-voiced manner represents a double sound generator, in which the pitch of the lower tone is formed by the vocal folds, while the pitch of the whistle tone is formed by the narrow entrance to the larynx (nozzle) and the resonating cavities of the pharynx and mouth.

On this basis, they made a general conclusion about direct links between Tuvan singing and that of Bashkirians and Mongolians which is hardly acceptable.

DIFFERENCES

When considered in a totality of timbres, texts, methods of performance, melodies, and styles Tuvan throat singing considerably differs from similar forms of musicianship of other related ethnic groups. Though the singing of those peoples have some elements in common, this similarity seems to by circumstantial and preconditioned by common character of their geographical situation and cultural exchange among them.
The performance of throat singing among the above mentioned Turko-Mongolian peoples involves clavicular breathing, i.e., the upper part of lungs. Single voice with periodic double-voice is formed due to changes in the resonators of the mouth cavity. An insufficient quantity of inhaled air transforms into melody through a hoarse bass voice and a peculiar timbre coloring.

Z.K. Kyrgys,

Anat Keidor,

Anthony Jahn

tuvan analyse 1

According to the data of experiments held in Roosevelt Hospital (USA) in 1995, Tuvan khorekteer is so specific which does not allow us to make anywhere near correct correlation with any other known forms of solo double-voice. The experiments were conducted in the following areas: a physiological examination of the vocal chords, and peculiarities of the respiratory system and those of the system of resonators. This effect can be achieved only with a quite compact energetic satiation of thorax (the performer of khorekteer with pectoral muscles push a dense energetic substance out which resonates in the thorax). Therefore we have to do with a strong resistance to energetic saturation of the thorax that gives a distinct feeling of energetic density and resonating of the mass of the instrument-voice. We arrived at the important conclusion that young performers of Tuvan khorekteer singing must not begin singing before the age of 14 or 15, in order to allow the larynx to mature and the body and nervous system to become stronger so that training will not harm cerebration and the respiratory system. Professional singers who work in institutions of culture and art for many years should be under the constant observation of physicians in order to monitor the functions of their lungs, larynx, and cerebrum. The action of intensive vibration may cause certain changes in the functional state of different organs (blood pressure, heart activity, and the nervous system).

One should listen to it in the surrounding of steppes and mountains and then it starts speaking the same language.
One should take into consideration that Tuvan language is the one which played and still plays a historical role in the development of this musical form.

Khorekteer is an instrumental misicianship based on the imitation of the sounds of surrounding world.

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ENSEMBLE TYVA , TUVA

Ensemble �Tyva� was founded by musicologist and folklorist Zoya Kyrgys in Kyzyl in 1987. The repertoire of the group contains some hundred of songs from all parts of Tuva. Ensemble is composed of best performers of unique art of Tuvans throat singing khorekteer the fascination of which is in the fact that one performer can produce simultaneously two or even three melodic lines. Ensemble �Tyva� gives an opportunity of better understanding the Tuvan culture. In contrast to other folk groups, the program of �Tyva� is closely connected with the specific character of this region, this part of Siberia where all kinds of landscape, rich flora and fauna, various styles of life and economic activities. Ensemble reflects the variety of Tuvan culture as if conserving this kind of culture in its very early manifestations. Tuvan people have preserved these ancient methods of performance connected with imitation of the sounds of surrounding world up to our days. They are basic in Tuvan culture. The sounds of nature are used not only in throat singing but also in khomus (Jew’s Harp) playing. The knowledge of sound imitation is the key to throat singing, the key which helps to discover the secrets of this art. The main goal of the group is to preserve, develop, and promote traditional forms of Tuvan art which are typical for nomads of Central Asia and at the same time to create its new forms. Ensemble performed in Mongolia, Taiwan, Holland, Sweden, Germany, Norway, US, Japan and other countries. Ensemble �Tyva� performed in: Moscow Clubs �DOM�, �Rotonda�, �PushkinG�, �OGI�, �Central House of Artists� �Russia Radio� Performance in popular Russian TV program �Anthropology� St-Pete Club �Spartak�5 Kyzyl (Tuva) International festival of pop song �Melodies of Sayan Mountains� (Drama Theater named after Kok-ool) Chadan (Tuva) International Festival �Ustuu-Khuree� (Chadan Palace of Culture) Taiwan Taipei (ASIA PASIFIC TRADITIONAL ARTS FORUM 2000) Japan (NEW GENERATION OF LOVE) Tokyo � Sendai � Osaka � Okayama � Kioto Mongolia International Throat Singing Conference �Bridge � 2001� In 2000 the first album �Ezengileer� (stirups) of new �Tyva� was released. At present �Tyva� prepares new album �CARAVAN�
home concert in Osaka

ensemble “TYVA” Danzyryn Ayas-ool Choodu Nachyn Chayan-Khoo Mergen Choodu Shonchalai
Eki from Japan!
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Famous performers of khorekteer, TUVA

Famous performers of khorekteer Soruktu Kyrgys Maksim Dakpai Andrei Chuldum-ool Marzhymal Ondar Khunashtaar-ool Oorzhak Fedor Tau	Soruktu Kyrgys	In 1927 Kyrgys Soruktu (born in the village of Mezhegei) was famous among the khoomei performers in Erzin People called him khoomeileer Soruktu, “master of khoomei Soruktu”.

	Maksim Dakpai	Diploma-winner of the All-Russian Amateur Art Festival and prize-winner of the World Festival in. In HIS opinion, folk tunes played on igil are an expression of the instrumental “voice” which is as individual and unique as the human voice.

	Andrei Chuldum-ool	The other best known center of khorekteer is situated in Central Tuva in the settlement of Chyraa-Bazhy in the Ulug-Khem district where famous throat singers Tumat Kara-ool and Andrei Chuldum-ool live.

	Marzhymal Ondar	Marzhymal Ochurovich Ondar was the most famous performer of khorekteer from the village of Bora-Taiga. He was one of the performers of khorekteer who carried musical instrumental traditions into our days. At present there remain very few masters like him.

	Khunashtaar-ool Oorzhak	A peculiar feature of the artistic individuality of Khunashtaar-ool Oorzhak is his virtuosity in not only one or two styles of khorekteer singing (as is typical for Tuvan khoomeizhis), but in absolutely all of its styles and substyles.

	Fedor Tau	Fedor Tau was born in Tes-Khem District of Tuva. He won Tuva ski championship ten times. People’s Khoomeizhi of the Republic of Tyva.

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Regional Distribution of KHOREKTEER and its typology, TUVA

Regional Distribution of KHOREKTEER and its typology

Method of performance KHOREKTEER

The method of khorekteer itself is the basis for all archaic styles and therefore each kind of melodic singing is unthinkable without introduction based on this method.

Other traditional methods of performance whichrequire special professional skills

Dumchuktaar – nasal performance
Uyangylaar – performance in a doleful, pitiful manner
Damyraktaar – imitation of the sounds of a brook
Sirlennedyr tinkling
Byrlannadyr – singing used for ornamentation of solo double-voice.

They exist together with other styles as sub-styles and differ by subtle technical traits in performance. They do not force these styles out and become an integral part enriching their structure.

Five styles are recognized in Tuvan solo double-voiced singing.

These are five styles: khoomei, sygyt, kargyraa, ezengileer, and borbannadyr each of which include many sub-styles.

TYPOLOGY

Style	Resonance zone, drone	Character of breathing	Articulation	Melody and musical-expressive specifics
Khoomei	Middle register F, F sharp, G can be sung with and without words, chest and mouth resonators	Basic (khorekteer), smooth breathing	=, \	Overtone melodic (8^th-12^th overtones)
Borbannadyr	Lower or middle register, mouth or partially nose resonator	Khorekteer, spasmodic rhythm, modulations, middle tension	=, \	Without and with melodization
Sygyt	High and tense	Constricted breathing, very tense	йо, й, йа can be alternated with text	Overtone melodic (8^th-12^th overtones), song melodic with vibrato
Kargyraa	Low guttural sound, the open mouth resonates	Khorekteer, smooth breathing, open mouth, can be sung with text	а, =, \, э open	Drone with third turns, overtone melodic (6^th-12^th overtones, song melodic
Steppe kargyraa	Low, open, chest, soft, velvet timbre. Outward resonator	Very long breathing	а, =, \, э open	Overtone or song melodic (6^th-12thg overtones)
Ezengileer	Middle register, vibration with lips	Smooth breathing, rhythmic pulsation as in ambling of a horse	а, =, и, \, э, ю, я with vibration	Quiet overtone melodic, high whistling timbre
Chylandyk	F sharp, G, middle register, singing without words, mouth resonator	Middle in length breathing	=, \.	Nasal long sound

Folk terminology reflected the timbre of these styles, both as independent timbres and in comparison with other means of sound-extraction.

KHOOMEI

A bright sound, by its timbre, of a humming middle tessitura, is designated in tales khoomei.

Khooledir khoomeileerge cher sirgeini bergen, “during the humming of khoomei, the earth trembled”.

According to our observations the style khoomei can be considered an initial or basic style. Khoomeizhis of old and young generations say that khoomei is the father of a forefather of khorekteer. The majority of musicians prefer this style because of its relatively convenient sound-extraction in the middle register. Deep sounds of khoomei, especially in lower register, resemble the unison of oboe and clarinet.

In ergi khoomei (old khoomei), the basic ostinato sound is more deep than in the borbannadyr style and has a more expressed overtone melody.

The sounds in khoomei are executed with closed lips as pronouncing the consonant “v”. This style is intermediate in timbre between the sounds extracted by schalmeis and trumpets. It is mostly characterized by power, richness in tone, and melodiousness.

In Tuvan heroic tales throat singing appears as a firmly established musical phenomenon. For example, “a bogatyr (an epic hero) performs khoomei with the force of a thousand people, his singing makes the earth and the sky shudder, and brings mountain tops crashing down”. Though the power of this singing is exaggerated to the extreme, the storyteller describes the force of sound emission very accurately. In connection with this we should give a delicate remark of B.I. Tatarintsev who investigated the place and role of throat singing in Tuvan epics. He wrote: “The traveling hero’s throat singing is characterized by stock epithets of one type yndynnyg, yiangylyg, syrynnyg “doleful, plaintive, drawling” which, apparently, characterize the uneasy emotional state of a hero”. The researcher gives an example from a variant of a lyric tale about Khan-Khulyuk. After singing the hero’s “pining chest expands and his crowded thoughts broaden”. Thus, Tatarintsev was the first to note this function of throat singing: to pass time and make oneself comfortable on journey.

At first glance it seems that it is impossible to think about a more recent origin of the khoomei style in comparison to other styles because I find the same principle of articulation in all the styles in the framework of the given traditional musical culture. However, if we delve deeper into the nature of khoomei, with its ways of intonation, the assumption the recent origin of khoomei is well supported. The style of khoomei, which holds a transitional position between ordinary and double-voiced singing often performs a utilitarian function as a lullaby song in the special style opei khoomeii (lullaby khoomei). When performing this style the performer accompanies his singing by a rocking of his body from one side to another. The performer uses clavicular breathing. He sings the words by moving his lips slightly. The movements of his lips are intermediate between speaking and singing. While lulling a baby, the performer sings through his nose. There are scarcely any overtone melodies in his singing. Before people the performer sings loudly, with a great support of the diaphragm and with a distinct pressure of pectoral resonators while alone in the yurt, lulling a baby, the performer sings quietly.

SYGYT

For the designation of a high timbre, there existed the term of sygyt

cyyrladyr cygyrtyrga kok deer ayazyp turgan “during the piercing singing of sygyt, the blue sky became clearer”.

In the sygyt style, overtones are produced in a high whistling timbre similar to that of the piccolo in the same register. The basic ostinato moves between the middle tones of the Great octave throughout the piece from la of the first octave to la of the third octave. In sygyt style the vowels are not articulated and the sounds, in contrast to those in other styles, are produced at an optimal strain of respiratory ways.

The main feature distinguishing sygyt from any other style is in the technique of sound extraction: the root of the tongue is moved forward and the melody is mostly produced by the vibration of the uvula and its approaching the soft palate. In sygyt style the uvula is the main organ which regulates the stream of air. Double voice usually appears in low and high registers simultaneously. When one voice is produced the overtones are absent. Typical of the sygyt style are melodies ascending to high pitch sounds. For example, in kishteer performed by Tumat Gennady, one can hear a glissando ascending an octave up from the 10th and 12th overtones of the 2nd basic ostinato note. Additional overtone sounds occur as a tremolo between two sounds which also differentiates the sygyt style from other styles.

KARGYRAA

A low sound was designated among people as kargyraa

kaargyraalaarga khayaa dash kaanayndyr bustup badip turgan, “during the singing of kargyraa, the sheer cliffs vibrated, rumbled, and fell down”.

The folk performers divide this style in sub-styles by timbre and pitch. Khovu kargyraazy (steppe kargyraazy) has a higher, lighter and softer sound while a lower, louder sound characterizes kozhagar kargyraazy(mountain or cave kargyraazy). The main form of the kargyraa style is singing with a clear logical semantic connection of sounds. It is based on ornamented melodies of wide breath. Timbre contrast and register amplitude distinguish different sub-styles. Among these sub-styles khovu kargyraazy (steppe kargyraa) is one of the most popular sub-styles of kargyraa.

Khovu kargyraazy is characterized by drawling, soft, and broad sound. This style is performed to show the spaciousness of flat steppes and mountains. An introduction with text is usually sung. The basic ostinato sound is produced with a half-open mouth. Overtones alternates with vowels. One of the vowels а, э, =, \ corresponds to each overtone.

Dag kargyraazy (mountain kargyraa) is also popular. This style is more stern. It expresses the power of the mountains. The timbre is more dense, nasal, and dimly.

The third style is dumchuk kargyraazy (nasal kargyraa). A characteristic feature of this sub-style is a regular release of air with a sharp double inhalation and exhalation through the nose and mouth. The powerful vibration has a positive effect on performer’s lungs and body. According to my informants singing in this way makes it possible to relax and concentrate oneself spiritually. When singing, the performer does not feel any disharmony. The frequency range of the produced sound is quite wide. The sound is more velvet-like, and softer due to the use of nose resonator. This is a typical style of the traditional Mongun-Taiga performance school.

BORBANNADYR

The borbannadyr style is related to the khoomei style in respect to intonation. A melodious introduction using khorekteer is performed with the same position of lips (close to each other) as with the khoomei style. Timbre norm, intonization with falsetto inflection, narrow modal scale with short stable formulae, and ostinato strophe rhythm with ornamentation are common to these two styles.

The mechanism of sound extraction, especially acoustic manipulations, rather than the steady melodious turns characteristic of the khoomei style is a more important point in borbannadyr style. The coexistence of these two styles can be explained as a manifestation of the features of an early folk tradition which is characterized by an organic relationship of melodic expression. During a period of singing the tempo increases and the melody becomes more complex, descending by leaps from the twelfth to the seventh overtone, more rarely to the eighth overtone. The ostinato sound remains intact but its pitch occasionally oscillates within the three middle sounds of the Great octave.

Contrary to khoomei, the melodious phrase of which is performed within one breath, the borbannadyr style is always interrupted, with the process of breathing plays a lesser role for articulation. The performer of this style usually begins by reciting of the words of a song typical only to the borbannadyr style. Here is an example:

Bolur-daa bol, bolbas-daa bol Whether it comes out or itdoesn’t

Borbannadyp berein shumna I shall sing borbannadyr anyways

In rhythmical respect the tune is more schematic. This is the tendency of the schematization of the borbannadyr style that involves outward ostinato repetition of musical turn. Similarities in the techniques of the khoomei and borbannadyr styles makes it possible to pass from one style to another. In the khoomei style the lower voice stops on a sustained (ostinato) sound and the singer can select overtones (which create additional melody, melodious recitation with words of a song) from this sound while in the borbannadyr style the sound seems to throw away rolling sounds without words. The tune is based on an intonization approximate to onomatopoeia but this is, more likely, not a concrete but somewhat generalized imitation. Therefore, the melodies in khoomei style, by its very nature, are of a radically different kind of those in borbannadyr style. What’s more, if one compares the peculiarities of the timbres of styles of the above styles one can get additional idea of a concrete style too.

In ensemble performance of khoomei, kargyraa, and sygyt styles (except onomatopoeic – ezengileer and borbannadyr styles) the singers seek to keep to basic forms, producing only slight additional tones which are mostly ornamental. The style borbannadyr is traditionally sung individually. This makes it possible for a performer of this style to introduce some individual traits in the form of his rhythmical intonization. This style is among the main independent styles because it has its own structure, a separate mechanism of sound extraction, and a characteristic timbre coloring. The performance of this style does not require the use of other styles. With regards to its tessitura, register, rhythm, and structure of melodies, borbannadyr style represents quite an independent artistic phenomenon which can be optionally synthesized in order to decorate the melody of other styles. For example, there are synthesized styles such as borbannadyr of sygyt, borbannadyr of kargyraa, or borbannadyr of khoomei.

ESENGILEER

Ezengileer also have their own peculiarities of rhythm, timbre, and intonation. Ezengileer represents an independent style of khorekteer. According to old people, ezengileer style has completely retained its meaning up to today.

The style itself, as assumed by some researchers, seems to be relatively recent in origin. The appearance of this style was possible not earlier than 1^st millenium AD, that is, in the time when the appearance of stirrup in horse harness could have a perceptible influence upon Tuvan music.

It is believed that the ezengileer style was formed later than the sygyt style but, undoubtedly, it was formed on its basis and in a constant interaction.

If we compare ezengileer with sygyt it is not difficult to note that the performance of ezengileer differs from sygyt by its slow singing and distinct scancion. Another distinctive feature of the ezengileer style is the periodic release of air through the nose with a sharp double exhalation. The sound-formation of styles is preconditioned by aesthetic prerequisites, acoustic peculiarities of the means of sound extraction, and timber. The melodious introduction is absent in ezengileer style. Ezengileer style is represented a peculiar, independent phenomenon in function also and its performance is connected to horse riding. The timbre of this style is softer than that of the sygyt style. The overtone melodies appear usually on 8th, 9th, 11th, 12th, and 13th overtones from the low ostinato sound.

SUBSTILES

In the kargyraa style alone one can count more that five common freely interchanged motifs: khovu kargyraazy (steppe kargyraa), kashpal kargyraazy (hill kargyraa), dag kargyraazy (mountain kargyraa), kozhagar kargyraazy (mound kargyraa), oidupaa kargyraazy (kargyraa of the singer Oidupaa) and so on.

KHOREKTEER

SYGYT

KARGYRAA

KHOOMEI

BORBANNADYR

EZENGILEER

KISHTEER

KHOVU KARGYRAAZY
DAG KARGYRAAZY
DUMCHUK KARGYRAAZY
OIDUPAA KARGYRAAZY
BUGA KARGYRAAZY
KASHPAL KARGYRAAZY
KOZHAGAR KARGYRAAZY

ERGI KHOOMEI
BUGA KHOOMEI
OPEI KHOOMEI
DESPEN KHOOMEI
KUMZATTAAR
CHYLANDYK

SUBSTILES

UYANGYLAAR
DAMYRAKTAAT
SIRLENNEDYR
BYRLANADYR

DESPEN BORBAN

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HISTORY OF INVESTIGATION OF KHOREKTEER , TUVA

HISTORY OF INVESTIGATION OF KHOREKTEER

Ustu-Hure

The investigation of Tuvan throat singing khorekteer accounts for more that a century. For the first time khorekteer was recorded by investigator P. Ostrovskikh in Eastern Tuva in 1864.

1897 P.E. Ostrovskikh
1897 E.K. Yakovlev
1897 G.E. Grumm-Grzhimailo
1914 Douglas Carruthers
1927 E.V. Gippius
Mid 30s First professional record of Tuvan solo double-voiced singing on gramophone disks under supervision of E.V. Gippius
1934 Release of a series of gramophone disks with classical samples of the styles of throat singing khorekteer (khoomei, kargyraa, ezengileer, sygyt, borbannadyr), songs yrlar, and instrumental folk tunes on igil.
1945 Beginning of folk studies in Tuva. Tuvan Scientific-Research Institute for Language, Literature and History (TNIIYaLI).
1956 m. Munzuk (first publication of folk melodies)
1973 Supplemented publication of “Tyva ulustun yrlary (Tuvan folk songs)
1964 A.N. Aksenov Monograph “Tuvan folk music” edited by E.V. Gippius became a landmark event in Tuvan folk studies.
1975 V.T. Maslov, B.P. Chernov The mechanism of the formation of second source of sound oscillations was established
1980 S.I. Vainshtein Article “Musical Phenomenon born in the steppes”
1995 Z.K. Kyrgys, Anat Keidor, Anthony Jahn Endoscopic experiment (Roosevelt Hospital, New-York State)

P.E. Ostrovskikh

E.K. Yakovlev

A.V. Anokhin

E.V. Guppius

A.N. Aksenov

A.N. Aksenov was the first to reproduce on a high scientific level the structure of khorekteer singing and that of folk tunes on the traditional instruments igil, byzaanchy, and khomus.

S.I. Vanshtein

В.Т. Маслов и Б.П. Чернов

The mechanism of sound-formation in solo double-voice was established in 1975.

On this basis, they made a general conclusion about direct links between Tuvan singing and that of Bashkirians and Mongolians which is hardly acceptable.

DIFFERENCES

When considered in a totality of timbres, texts, methods of performance, melodies, and styles Tuvan throat singing considerably differs from similar forms of musicianship of other related ethnic groups. Though the singing of those peoples have some elements in common, this similarity seems to by circumstantial and preconditioned by common character of their geographical situation and cultural exchange among them.
The performance of throat singing among the above mentioned Turko-Mongolian peoples involves clavicular breathing, i.e., the upper part of lungs. Single voice with periodic double-voice is formed due to changes in the resonators of the mouth cavity. An insufficient quantity of inhaled air transforms into melody through a hoarse bass voice and a peculiar timbre coloring.

Z.K. Kyrgys,

Anat Keidor,

Anthony Jahn

One should listen to it in the surrounding of steppes and mountains and then it starts speaking the same language.
One should take into consideration that Tuvan language is the one which played and still plays a historical role in the development of this musical form.

Khorekteer is an instrumental misicianship based on the imitation of the sounds of surrounding world.

^{[up] http://www.khoomei.narod.ru/khorekteereng.html}

INTERNATIONAL SCIENTIFIC CENTRE “KHOOMEI”, KYZYL, TUVA

MISSION

Preservation and development of traditional culture of Tuvan throat singing khorekteer.
Organization of scientific research for revealing and study of throat singing of the peoples of Sayan-Altai Region and other parts of the world and their propaganda.
Creation of archives khorekteer recordings and their analysis.
Training and probation of young performers including foreign performers in the experimental laboratory of the center.
Participation in international music contests and organization of international symposia, seminars, conferences and festivals of Tuvan throat singing khorekteer.
Promotion of scientific-practical international contacts.
Social protection of performers.

http://www.khoomei.narod.ru/khorekteereng.html

NEWS

01.05.2008

We are honored to invite you to participate in the 5^th International Ethnomusicology Symposium “Khoomei (throat-singing) is a Cultural Phenomenon of the Peoples of Central Asia” to be held July 25-28, 2008 in Kyzyl, the capital of the Republic of Tuva.

The problems of the functioning and development of throat singing in the different regions will be discussed.
Within the framework of the Symposium the 5^th International festival of throat singing with participation of the performers from Moscow, Republic of Altay, Republic of Khakasia, Republic of Buryatia, Republic of Kalmykia, Republic of Yakutia, Republic of Bashkortostan, Mongolia, Kazakhstan, Kyrgyzstan, Turkmenistan, Japan, USA, France, Holland, Austria, Turkey and Norway will be held.
The issues of musical ethnography on following directions will be discussed:
1. Comparative study of double-voiced throat-singing (Khoomei).
2. Genres of traditional music ( ritual music, epos, lyric poetry).
3. Musical instruments and instrumental music.
4. Traditional music and religious systems.
5. Issues of migration of musical phenomena. Interaction of nomadic and settled cultures. Musical folklore as a source of historic information on ethnogenesis of peoples of Central Asia.
In work of the symposium scientists of khoomei studies, physicians-physiologists, scientist physicists, musicologists, scientists of folk arts, throat singing performers, also representatives philological, history sciences will take part. Their themes are closely connected with marked problems.
Registration fee is 300$ US. Different exhibitions, show of movies, trips to the countryside of Tyva are in the program.
The thesis of scientific papers should be no more than 2 A4 (1,5 interval) both in English and Russian languages should be sent not later than 1^st April 2008 (Thesis received after the 1^st of April will not be included in the final thesis publication).
We kindly ask you to include the best people’s khoomei performers into the list of your delegation (not more than 2 people) to participate in the concert of the traditional music.
Accommodation and travel expenses are paid by participants; food and cultural program are paid by organizing committee of the Symposium.
We look forward to your acceptance.
Organizing Committee: International Scientific Centre “Khoomei”
46,Shchetinkin-Kravchenko str .
Kyzyl, Republic of Tyva, Russia, 667000
tel: +7 (39422) 2-33-18 fax: +7 (39422) 3-38-97
mobile: +7 913 342-43-87
e-mail: kyrgys@yandex.ru