MAKIGAMI&MONGUN-OOL in Kyzyl
Published on Mar 26, 2011
Published on Mar 26, 2011
A kind of Mongolian chill out mixing traditional and electronic music. The band was formed by M.Bold and G.Onon in 2013, who are both well known in Monglolia as producers and songwriters. Watch the video to the very catchy Hurrah Hurrah Hurrah.
1. Universe 2. Sun 3. Water 4. Wind 5. Steppe 6. Spring 7. Mountains 8. Inspiration 9. Sky 10. Hurrah Hurrah Hurrah WATCH VIDEO
One of Mongolia’s best known players of morin khuur, which he plays in both traditional and modern settings as on this CD. Battungs Oyunbileg has peformed in many countries around the world.
1. Melody of the morin khuur 2. Faraway mirage 3. Waltz 4. Menuetto 5. Serenada 6. Hungarian Dance 7. Melody for morin khuur quartet No.1 8. The legend of the running camel 9. Chinggis khaanii magtaal 10. Eeven goliin ursgal 11. Solgan of the 4 Oirad 12. Thank you
Koichi Makigami is one of the strange breed of Japanese hoomi (throat) singers. He also plays the theremin and this unusual album is based on the theme of the moon and ether. 11 tracks including a traditional song from Tuva.
Superb album by an exceptional singer. Born into a family of livestock farmers in the southwest of Inner Mongolia, Urna’s formative years were ingrained with a feeling of the endless expanse of the steppe, raised among horses and sheep and head-high grass and sand dunes. She learned traditional Mongolian songs from her grandmother and parents, and still today collects songs and stories from the elder singers of her homeland. She studied yangqin (Chinese dulcimer) at the Shanghai Conservatory of Music, where she joined Robert Zollitsch’s Gaoshan Liushui ensemble as the featured singer. She still collaborates today with Robert including on this album. Urna’s music mixes elements of Mongolian folk with a variety of other influences to create an original and fresh sound. At the centre, is always her voice, improvising, soaring and striking in its range and beauty.
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Namjilin Norovbanzad has an extraordinary voice. Singing urtiin duu, or long song, and bogino duu, meaning short song, her voice is piercing, powerful.Trouble is, this is a bit much over a whole CD. She is joined by instruments including morin khuur, with 2 it’s strings and the hair of it’s bow made from horsehair. Move any valuable glasses out the way before listening.
Yilana is young female morin huur (horse head fiddle) player from Inner Mongolia. On her first album she plays and sings Mongolian traditional songs and her own original tunes. On this accomplished album she is accompanied by a Japanese keyboard player.
Yilana was born in Inner Mongolia in 1987 and plays the morin khuur (horsehead fiddle) and sings. The traditional sounds are accompanied by keyboards and a string section into a kind of pop/trad sound bordering on new age. 11 tracks.
Tuvan and Mongolian tunes and songs by two Japanese musicians, Masahiko Todoriki and Haruhiko Saga complete with throat singing and traditionalTuvan instrurments. They include somesongs from northern Japan, Ainu jew’s harp and even Irish influences, to make this an interesting and recommended album. Comes with useful English liner notes.
Tarbagan is the duo of Masahiko Todoriki a Tuva (khoomi) style throat singer and Haruhiko Saga who plays the Morin Khuur and sings in the Mongolian throat tradition. In 1998 the team won the guest division and placed second overall at Unesco’s khoomi contest. This CD contains traditional songs from Tuva, Mongolia and Japan.
Here is the Japanese version of this page.
|With my morin khuur that the TSS imported from Mongolia.
This instrument is sometimes called “horse-head fiddle” in English. You can not see the horse head of my morin khuur in this photo because it is behind the human head.
Traditional Music Festival (TMF) 1996 in Sapporo.
Mr. Ganbold often throat-sings playing his morin khuur. (Though his morin khuur has no horse head, it is called morin khuur.)
For the beginners like me, this perfomance style is great. One reason is it looks SO COOL. The other is, the sound of the morin khuur kind-of hides the voice and makes audience recognize the melody of the flute-like sound far easily. (Of course Mr. Ganbold does not need to think this kind of small things…)
At the TMF, I tried 3 styles of throat-singing. 2 traditional types and one “falsetto” style. This sound file is short one that contains just one style recorded after TMF.
SAGA Haruhiko email@example.com
Here we do our best to explain the method for throat-singing. You’ll find that basic throat-singing can be mastered surprisingly easily. So have a go!
To improve your throat-singing, vocalization and mouth-shaping should be mastered through trial and error. It’s a bit like learning to ride a bicycle (success only comes after many falls, right?)
Go for it, Dude/Babe, Boys ‘n’ Girls! Be ambitious!
You’ll soon be a throat-singer!
You can master elementary throat-singing just by following the directions given in the seven steps below.
For each step, the method is written based on my personal technique, so I hope you find them useful as a guide until you find the technique which best suits you.
Here we go…
Special thanks to Dan. He translated all of these instructions!
The Journal of the Acoustical Society of America 105, 2920 (1999); https://doi.org/10.1121/1.426905
Throat singing is an amazing, storied tradition of musical expression. A mixture of hoarse, rasping chanting and low, rumbling growls, throat singing has a rich history that spans the globe. It is generally thought to have originated in central Asia, specifically Tiber, Mongolia and Siberia. Ranging from North America, to Central Asia, even all the way to Africa, throat singing has a very diverse range of people singing it, as well as a very diverse range of musical styles. With that said, I think that there is possibly a connection between most, if not all of these native groups that perform these traditions. Although some connections may not be direct, it is still interesting to look at the possible influences that were passed through these groups.
Throat singing has two main types that are significantly different. The first is utilizing overtones, in which there is not only the main, fundamental note, but also the overtone note that falls somewhere on the harmonic series. Examples of overtone throat signing include Tuvan techniques like sygyt and khoomei. In these techniques, the low drone was constant while the harmonics were constantly changed. Meanwhile, there are also throat singing techniques where there is more of a low, grumbling sound with very diverse tones and timbres. These type of throat singing are based in the unique vocalization and resonance in the singers’ throat. Examples of this singing are kargyraa, which has an incredible, rumbling sound that is reminiscent of a didgeridoo.
Aside from those two types of throat singing is one more types of throat singing that is found in two places in particular. In North America, among the Inuit people, and in northern Japan, among the Ainu people, is throat singing that resembles a game. Rather than performing, these types of singing are meant to be a game between two singers, specifically women. The timbre of these games however is different as well, which we will get into later. First, I will try to outline the connections between two different groups of throat singing people; the Inuit and Ainu tribes.
Inuit throat singing is one of the most well known and recognized types of throat singing there is today. The Inuit people today are situated in northern parts of North America, specifically Alaska and Northern Canada, but some even range to Greenland, as well as the Kamchatka Peninsula in Northeast Siberia/Russia. I believe that this group of people, with a population of over 100,000, is somehow related to other throat singing groups in central Asia. In fact, some believe that the Inuit have origins connecting them to Mongolia. It is also believed that they crossed the Bering Strait around 10,000 B.C. from Northwest Siberia to Alaska and North America. In terms of this groups throat singing, they have multiple different names for the same technique. For those in Northern Quebec it’s called katajjaq, in Baffin Island it’s called pirkusirtuk and in Nunavut it is called nipaquhiit. The actual practice itself is performed by two women who perform against each other while using vocal techniques that utilize both inhales and exhales.
As you can hear, the women performing change their pace, rhythm, pitch and timbre throughout the entire game. This is what adds to the difficulty of the game, as one person has to follow while the other quickly changes these aspects of their singing. Jean-Jacques Nattiez describes it as such:
“We would judge [this] Inuit practice to be “musical” a priori: katajjaq, which is today referred to as a ‘throat-game.’ Katajjaq as music? Certainly from the western vantage point it is music, since [musical groups have] made a record of it (which was even awarded a prize, by a rather well known Academy). But within the Inuit social practice, this complex symbolic form has one predominant characteristic: it is a game. The principle behind performing katajjaq is as follows: it is played by two women; the repeat a brief motif at staggered intervals, until one of the women is forced to stop, having either run out of breath or tripped over her own tongue. There is a winner and a loser.” (Jean Jacques Nattiez)
The origins of this game are believed to be women who were playing this game while the men went out hunting for food. While men were hunting and gathering, the women in these tribes back with the children caring for them, cooking and making sure that everything at home ran smoothly. However, the men would, at times, be gone for days on end, so in order to pass the time, women began this practice which has now stood the test of time and defined this native group musically, even though it was not meant to be a form of music at all. Another tidbit on Inuit throat singing at one point was done with the women getting so close to each other that their lips were nearly touching. While this is no longer done in the modern practice of Inuit throat singing, it was done this way in order to use the other women’s throat as a resonator. This may seem like a useless fact, however when you begin to try to draw connections between the Inuit people and other throat singing groups, it becomes very valuable. For example, the Ainu people.
The Ainu tribes, located in Northern Japan, is also known for their throat singing technique called Rekuhkara. Rekuhkara, also performed by two women, is done by two women forming a tube with their hands and then chanting into each others mouths and throats. This cavity acts as a way of the performers using each others mouths and throats as a resonator to give the technique a unique sound. In addition, this technique also utilizes the inhale as a sound, although less so than Inuit throat singing.
(Also listen to the previous video on Inuit Throat singing at the 1:00 mark)
Picture of two Ainu women performing Rekuhkara
It’s hard not to recognize the similarities between these two techniques. Sound wise, you can clearly hear the inhales and exhales of both performances. In addition, the pace, tempo and back and forth format of the singing is almost too similar to consider it a coincidence. There are also times, like the ones pointed out, where both the Inuit throat singing and the Rekuhkara have a similar timbre. Although the timbre of the the Inuit throat singing is clearly more guttural in the attached videos, it is believed that Rekuhkara, in its true form, is meant to be sang much more gutturally. In fact, the Rekuhkara shown in the video may not be a proper representation of what true Rekuhkara was meant to sound like. The last true, recognized Rekuhkara practitioner actually died in 1978, meaning that the modern day presentation of Rekuhkara, in terms of sound, may not be completely accurate. Although many of the intricacies of the practice are specified, for instance sitting facing one another with your hands cupped together, the actually tone and timbre of the sound today is most likely not accurate. In fact, according to Jean-Jacques Nattiez, the word “Rekuhkara” actually means.
“In fact, what distinguishes it essentially from [other Japanese singing traditions] […] is the ‘guttural’ sound. In the Ainu language, according to the Ainu-Japanese dictionary compiled by Chiri Mashio, rek means ‘to speak’ or ‘make a sound” and kut means “throat.’” (Jean-Jacques Nattiez)
This would imply that the original form of Rekuhkara does not in fact utilize a lighter tone. On the contrary. The fact that the name itself roughly means “to make a sound from the throat” means that this practice was surely meant to have its vocalization and resonance come from the throat.
Not only in sound, but in form as well, the Inuit and Ainu people clearly have a relation in their musical traditions. It is hard to deny the similarities between both techniques due to the fact that they typically use women, they attempt (or at least at one point they did) to use their partners mouth and throat as a resonating cavity, they both use inhales as a part of the sound, and there are possible connections geographically from their history as the Inuit have been linked to Mongolia and the surrounding Central Asian territories.
From here, I tried to find a connection between the Central Asian natives and the Ainu people. Because throat singing as a practice is generally thought to have originated in the Mongolian/Tibetan/Siberian region, it is reasonable to believe that the Ainu could possibly have been influenced by these groups who are close in geographic proximity. With this in mind, I believe there is possibly a connection between the Ainu people and a Tribe in Northern Russia: The Nganasan people. There are multiple things that can be connected between these two tribes, but the first we will be looking at is the significance of bears, and the similarities between many of their ceremonies and tradition. Both the Ainu and the Nganasan people have ceremonies that are based around bears and their belief in bears as a god or an overall important figure. In fact, in the Ainu language bear can also be translated to god, so clearly the bear holds a very important cultural status in their community. In addition, the Ainu people have an old tradtion that involves sacrificing a bear, as well as a small animal (typically a deer), and then eating the animals that were sacrificed. During this ceremony, they perform Rekuhkara, dance, and then perform a ritual that involves a tribe member imitating “the pleasure the god must have experienced in the last moments before the release of its spirit.
They believed that inside the bear is the spirit of the god, and in order to release it, it must be sacrificed. This practice is even more interesting when you compare it to the traditions of the Nganasan people as well. They have a ceremony/tradition simply called the “Bear Dance” in which they attempt to imitate a bear both physically and audibly. The bear dance is performed in a low, grumbling voice which is reminiscent of throat singing, however they seem to call it throat rasping rather than singing. Regardless, these similarities are hard to ignore.
In addition, there is thought to be some connection between the Ainu and the Nganasan genetically. In fact, in one study called Deep History of East Asian Populations Revealed Through Genetic Analysis of the Ainu they suggest that, genetically, the Ainu and the Nganasan are related so closely that they could even be considered sister tribes. “Siberian populations (Nganasan and Itelmen) were modeled either as a sister group of all East Asians including the Ainu (76.8%) or as a sister group of Native Americans.” Not only are there connections based off of the ceremonies, but there is also scientific evidence of them being genetically related. Lastly however, there is also musical connections potentially between the Nganasan and the Inuit who were previously discussed. Ethnomusicologists have done studies on both of these groups and their singing styles, and after studying these groups the actually decided to use the same notation for the two tribes. Because both groups utilize both the inhale and the exhale so heavily, they used notation that had the inhales marked with triangles, while the exhales were marked with rectangles. Although this doesn’t not prove any true connection between these groups, it is very interesting that these two distant tribes happen to utilize many of the same structures in their singing styles.
Following these connections from the Inuk to the Ainu, and the the Ainu to the Nganasan, I found my research to be in the correct place geographically. The Nganasan are located in Russia/Siberia, so this is one of the locations that is believed to be the birthplace of throat singing. With that, I scoured the internet for connections between the Nganasan and any other central Asian tribe or group. I attempted to look for connections between them and the Tuvans and Tibetan indigenous groups, as well as tribes like the Chukchi in Northern Russia, however to no avail. I unfortunately was not able to find direct connections between these groups, however I don’t believe this is because there isn’t any connection. I believe that this is simply due to a lack of research in this field. The reason I believe this is because the groups are all similar in the sense that they practice this very niche, unique singing style, as well as the fact that they are all in very close proximity of each other. Because these groups, who are believed to be tens of thousands of years old, are all in the same area and practice throat singing, which is practiced very seldom in any other geographic location, it is hard to believe that this high concentration of of throat singing is simply due to coincidence.
Although this study was not completely successful, it seems that I was on track to finding deep connections. Due to lack of research on the topic, I was unable to find discernible connections between groups located in Asia. However, the connections between the Inuit, Ainu, and Nganasan feel to me very believable and authentic. Musically, traditionally/ceremonially, and even genetically, there is evidence of connection between these groups, and I think that it is fair to say that many, if not all, throat singing groups are potentially related through influence on each other. Although these influences may have occurred thousands of years ago, I myself believe that these connections are impossible to ignore.
Hai, Tran. “Bruno DESCHENES: Inuit Throat Singing.” Overtone Music Network. N.p., n.d. Web. 20 May 2017. <http://www.overtone.cc/profiles/blogs/884327:BlogPost:7501>.
Jeong, Choongwon, Shigeki Nakagome, and Anna Di Rienzo. “Deep History of East Asian Populations Revealed Through Genetic Analysis of the Ainu.” Genetics 202.1 (2016): 261–272. PMC. Web. 20 May 2017.
Nattiez, Jean-Jacques. Music and Discourse: Toward a Semiology of Music. Princeton: Princeton UP, 1990. Print.
Nattiez, Jean-Jacques. “The Rekkukara of the Ainu (Japan) and the Katajjaq of the Inuit (Canada): A Comparison.” The World of Music, vol. 25, no. 2, 1983, pp. 33–44. JSTOR, http://www.jstor.org/stable/43560906.
Ojamaa, Triinu. “Throat Rasping: Problems of Visualization.” The World of Music, vol. 47, no. 2, 2005, pp. 55–69. JSTOR, http://www.jstor.org/stable/41699645.
Walz, Jonathan David. “From Primitives to Zen: The Ainu Bear Sacrifice.” Man and the Sacred. N.p., n.d. Web. 20 May 2017. <http://www.mircea-eliade.com/from-primitives-to-zen/092.html>.