Thus, if the fundamental frequency were C3, the overtones would be G5, B♭5, C6, D6, E6, G6. Ordinarily, melodies are created by isolating the 6th, 7th, 8th, 9th, 10th and 12th partial in accordance with the harmonic series. While the cultures of this region share throat singing, their styles vary in breadth of development. Indeed, the cultures in this part of Asia have developed many instruments and techniques to mimic the sounds of animals, wind, and water.
An example of this is the Tuvan story of the waterfall above the Buyant Göl (Deer River in Tuvan), where mysterious harmonic sounds are said to have attracted deer to bask in the waters, and where, it is said, harmonic sounds were first revealed to people. Thus, human mimicry of nature's sounds is seen as the root of throat singing. The animistic world view of this region identifies the spirituality of objects in nature, not just in their shape or location, but in their sound as well. Often, singers travel far into the countryside looking for the right river, or go up to the steppes of the mountainside to create the proper environment for throat singing. Ethnomusicologists studying throat singing in these areas mark khoomei as an integral part in the ancient pastoral animism still practiced today. The open landscape of Tuva allows for the sounds to carry a great distance. The popularity of throat singing among Tuvans seems to have arisen as a result of geographic location and culture. Many male herders can throat sing, but women have begun to practice the technique as well. The history of Tuvan throat singing reaches far back. In Tuvan throat singing, the performer produces a fundamental pitch and-simultaneously-one or more pitches over that. For example, in the modern Tuvan there onomatopoeic verb kargyraar (kargyra) having a value of:wheeze,seethe. The term has kargyraa onomatopoeic basis indicating rattle or sounds similar to wheezing. Kargyraa originated as an imitation of the voice of the camel when camel dies, camel rides, making sounds similar to kargyraa. On the origin of different types of Tuvan throat singing preserved in the legends of the people and traditions. The main styles are considered to be 5 - kargyraa, Khoomei, sygyt, ezengileer, borbannadyr addition, there are several varieties - dumchuktar (nose singing ) khorekteer (sing-feeding), Khovu kargyraazy (steppe kargyraa). On the basis of the traditional onomatopoeia entertainment that was clearly evident characteristic of Tuva increased sensitivity auditory perception skillfully modeled voices of birds and animals, the cries of the crane, goose orphans bull roar, hare ritual emerged and spread in Tuva two votes throat singing, in which one artist clearly two musical voices heard.Īccording to most experts, Tuvan throat singing - Khoomei - is markedly different from that of art Altai, Buryatia and Mongolia, above all, a wide variety of styles. The value and beauty of sound was measured by the ability to transmit "real-life" not only by imitation, but also an understanding of its nature.Īesthetic perception Tuvan traditional onomatopoeia - hunting and shamanic apparently formed the basis of the special, pets, vocal and instrumental imitations of the voices of animals, wild animals and simulation environment without any industrial or magical function. Thus, the measure of all things and the source of inspiration of the ancient artists Artists nature. In Tuva, for example, this is due to the boundless love of nature.
Throat singing is not the result of a specific throat singing, musical and poetic thinking people. The uniqueness of this art is that the artist extracts just two notes at the same time, thus forming a kind of two vocal solo. Throat singing - a unique form of art, there are only the peoples of the Sayano-Altai region - Tuva, Altai, Mongolia, as well as living in the European part of the Russian Bashkir.
0 kommentar(er)
