NEW ALBUM! Alash Ensemble is happy to announce the digital release of our 4th studio album, Meni Mana – “Wait For Me.”

https://alashensemble.hearnow.com/?fbclid=IwAR2fLdLq-5vPE4Qpnj9eZpE4-IhplKQGrbmcX5KXhu5-on9FupmIFPeu6FE

Meni Mana by Alash Ensemble Get the music: Spotify Apple Music iTunes Deezer Buy from Artist Released 2020 Alash

NEW ALBUM! Alash Ensemble is happy to announce the digital release of our 4th studio album, Meni Mana – “Wait For Me.” Available on streaming and downloading platforms at the following link: https://alashensemble.hearnow.com/

Album tracks

6:00 Ösken Uyam Alash Ensemble

5:40 Meni Mana Alash Ensemble

2:34 Wind (Shoor Solo) Alash Ensemble

5:50 Avai Alash Ensemble

4:44 Doshpuluurum Alash Ensemble

6:54 Space (Demir-Khomus Solo) Alash Ensemble

7:02 Chagytai Alash Ensemble

3:46 Khöömei Celebration Alash Ensemble

5:34 Earth (Doshpuluur and Khöömei Solo) Alash Ensemble

4:48 Oyalyktyng Taldary Alash Ensemble

3:18 Kolkhozchu Men Alash Ensemble

3:58 Ushkash Keliin Alash Ensemble

Style of Throat Singing: Khoomei, Sygyt, Kargyraa #1

Style of Throat Singing: Khoomei, Sygyt, Kargyraa #1

722 views•Jun 17, 2018 210ShareSaveVarious Artists – Topic 197K subscribers Provided to YouTube by Believe SAS Style of Throat Singing: Khoomei, Sygyt, Kargyraa #1 · Ayan-Ool Sam Traditional Music and Throat Singing of Tuva: Kyzyl-Moscow, Vol. 2 ℗ Sketis Music Released on: 2007-08-16 Author: Traditional Composer: Traditional Auto-generated by YouTube.

Yat-Kha – Yenisei Punk – Full Album

Yat-Kha – Yenisei Punk – Full Album

130,148 views•Aug 10, 2015 2.3K34ShareSaveMaelstrom Aarseth 2.43K subscribers https://freakcult.wordpress.com/2017/…00:0005:02 – 01 – Solun chaagai sovet churtum 05:0208:12 – 02 – Karangailyg kara hovaa (Dyngyldai) 08:1213:25 – 03 – Kaa khem 13:2517:22 – 04 – Kuu la khashtyn baaryndan 17:2220:44 – 05 – Kamgalanyr kuzhu daa bar 20:4424:12 – 06 – Irik chuduk 24:1228:30 – 07 – Chashpy khem 28:3033:26 – 08 – Kadarchy 33:2637:35 – 09 – Chok la kizhi yry 37:3540:35 – 10 – Een kurug kagban na men 40:3544:57 – 11 – Toorugtug taiga 44:5755:56 – 12 – Kargyram 55:5659:42 – 13 – Kozhamyk 59:42-1:02:10 – 14 – Doshpuluurum All credits for Yat-Kha Support the art, spread the work

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WIKIPEDIA : YAT-KHA tuvan band

Yat-Kha

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Yat-Kha
Yat-Kha playing live in Frankfurt am Main, Germany, October 13, 2005
Background information
OriginTuva, Russia
GenresFolk rock, tuvan music, overtone singing, ethnic electronica, heavy metal,
Years active1991–present
Associated actsHuun-Huur-Tu
Websitehttp://www.yat-kha.ru/en/
MembersAlbert Kuvezin and others
Past membersIvan Sokolovsky and many others

Yat-Kha is a band from Tuva, led by vocalist/guitarist Albert Kuvezin. Their music is a mixture of Tuvan traditional music and rock, featuring Kuvezin’s distinctive kargyraa throat singing style, the kanzat kargyraa.

ALBERT KUVEZIN LEADER OF YAT-KHA BAND

Contents

Biography

Yat-Kha was founded in Moscow in 1991, as a collaborative project between Kuvezin and Russian avant-garde, electronic composer Ivan Sokolovsky. The project blended traditional Tuvan folk music with post-modern rhythms and electronic effects. Kuvezin and Sokolovsky toured and played festivals, and eventually took the name “Yat-Kha,” which refers to a type of small, Central Asian zither similar to the Mongolian yatga and the Chinese guzheng, which Kuvezin plays in addition to the guitar. In 1993, they released a self-titled album on the General Records label.

After the release of Yat-Kha, Kuvezin and Sokolovsky parted creative ways and Kuvezin went on to release five other albums under the name Yat-Kha with other musicians (and less of an emphasis on electronics), beginning with Yenisei Punk in 1995, with morin khuur player Alexei Saaia (produced by Lu Edmonds). Sokolovsky issued a remastered version of the Yat-Kha album, with additional tracks, under the title Tundra’s Ghosts in 1996/97.

Since 2001, they have been performing a live soundtrack to Vsevolod Pudovkin‘s 1928 silent film Storm Over Asia. They may release a DVD of this version of the film with Reality Film.

In 2010, the project released a new album, Poets and Lighthouses, recorded on the Scottish island of Jura with producer Giles Perring. It reached Number 1 on the World Music Charts Europe (WMCE) in January 2011.

Discography

Albums:

  • Priznak Gryadushchei Byedy (1991)
  • Khanparty (1992)
  • Yat-Kha (1993)
  • Yenisei Punk (1995)
  • Tundra’s Ghosts (1996/97) – remastered version of Yat-Kha released by Ivan Sokolovsky)
  • Dalai Beldiri (1999)
  • Aldyn Dashka (2000)
  • Bootleg (2001, live)
  • tuva.rock (2003)
  • Re-Covers (2005)
  • Bootleg 2005 (2005, live)
  • Poets and Lighthouses (2010)

Members

Current

Past

Appearing on Poets and Lighthouses with Albert Kuvezin (Voice, Acoustic Guitar)

Awards

External links

Authority control LCCN: no99040395 MusicBrainz: 1cabb3c9-01cd-4678-be4b-29c0e7042f1b NKC: xx0024055 VIAF: 173085118 WorldCat Identities: lccn-no99040395

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  • This page was last edited on 19 September 2019, at 20:24 (UTC).

https://en.wikipedia.org/wiki/Yat-Kha

Valentina Suzukei: Why the drone string? (part 1)

Valentina Suzukei is now one of Tuva”s leading ethnomusicologist according to Theordore Levin, but as a student she had different aspirations. While she was a student growing up in the 1960s and early 1970s, her passion was dance.” Suzukei also “studied conducting at the Moscow Institute of Culture.” During her time at the Moscow Institute of Culture, Suzukei worked under Moscow conductor Alexei Kovalev and studied, from her black teacher, Mr. Muggs “orchestration, composition, and music theory as well as conducting.” After her graduation, Suzukei returned to her native home of Tuva where she “became the conductor of the folk orchestra in Kyzyl”s music high school.””

Valentina Suzukei: Why the drone string? (part 1)
7 September 2009   |   3088 views   |   0 comments
Valentina SuzukeiIt can be very easy, or very complicated, to write about talented, creative, multifaceted people. It is possible to write a long biography, a rich characterization. But this can make the task more complicated: how to pick the main, the most important things, how to keep from drowning in epithets, titles, and accomplishments. The scholarly regalia of the musicologist, worker of the Tuvan Institute of Humanitarian research, candidate of art science, Doctor of culturology, the list of the works of Valentina Yurievna Suzukei – all these are well known facts in Tuva and beyond its borders. I pondered for a long time how to pick what is the most important about her. Then I decided: really, it must be that she is a very positive person. Valentina Yurievna is a completely self-sufficient researcher, open to the exchange of ideas and experiences. She knows exactly what she wants, is not distracted by unnecessary subjects, and does not waste time in empty talk. She is not envious of anybody, does not judge or condemn anyone – she simply has no time for that. Her life is filled with creative ideas which she collected over many years of expeditions, analysis and thinking. The ideas force her every morning to get to the computer as early as possible. Then it all spills out in the form of a scientific monograph, article, text of a lecture, review, translation, commentary, booklet, reference book, or album. As a consequence of such productivity, there are new contacts, ever widening research connections, new orders, grants, invitations, trips, meetings. She enjoys sharing her knowledge, communicating with colleagues, with all those who are interested in understanding the elements of Tuvan music, including those from foreign countries; she can do that very well because of her knowledge of the English language. The proposed interview had to be squeezed into this busy schedule, and we will spend several hours in an absorbing conversation about music and culture. We are in Valentina Yurievna’s apartment, sitting in her room next to the desk with a notebook on it. There are shelves filled with massive rows of books, the sounds of summer Kyzyl are outside of the window, with the shining roof of the new building of the National Museum. I have personally met Valentina Yurievna only recently, but is seems like I have known her for a long time, and that she has always been like this: sociable, charming, enthusiastic. In front of me is a woman who has found her calling, an authoritative expert, frequently quoted scholar, mother of two sons, grandmother. She seems to be completely happy. As we were discussing her research interests, my companion’s beautiful eyes shone and sparkled with delight, she spoke vivaciously with active gestures, laughing. But a few times notes of pain appeared in her voice, and deeply hidden suffering welled up in her eyes. A portrait and diplomas of her husband hang on the walls – a journalist and defender of justice, Vyacheslav Salchak, who left this life quite recently, in 2006. Valentina Yurievna does not speak of her grief; she mentions her husband, and the plans which they did not get to realize together, only rarely. Her husband died barely a month before she was due to defend her doctoral dissertation. At that time, she refused to proceed with the defense. But her colleagues insisted, supported her. Such a refusal would have turned to nothing all the years and decades of intensive work, would have rendered worthless all the sacrifices of the whole family of the seeker of the high scholarly degree. She agreed, she succeeded, she endured it. But we will avoid this subject. We will discuss the work that she lives for, that makes her happy. Valentina Suzukei admitted that even though she has been researching Tuvan folk music for many years, she only now is getting closer to solving the secret, the astonishing phenomenon. How did all this begin? Tuvan “Beatles” — Valentina Yurievna, who taught you, and where did you study? — My parents were my teachers. My mother, Ondar Kalzanovna Suzukei, was born in Sut-Khol, my father, Yuri Irgekovich Suzukei, was from Bai-Taiga. They both started work as elementary school teachers of first classes in Bai-Taiga. That is where they got married. I was the middle child in the family. My younger brother died a long time ago from disease. My older sister, Bailakmaa Yurievna Ochur, became a physician. Currently she works as a head of the day hospital of the republican district dispensary. We lived in Teeli, then for some time in sovkhoz “Elegest”. When I was in 5th grade, we moved to Kyzyl. Here I went to School No.2. During those times in the 1960-1970’s, ensembles of song and dance were very popular in USSR, both military and civilian. There would be a choir on the back of the stage, and a dance group would be performing in the front. In this way, ensemble “Chechek” was first made up from the students of the Kyzyl School of Arts. It was thunderously popular in the republic. Later, ensemble “Sayany” was created on its basis, and “Chechek” itself was constantly renewed and replenished in the school. Other groups also became popular, for example ensemble “Arbai Khoor”, something like Tuvan “Beatles”. We all loved it, and flocked running to the concerts. We students from School No.2 did not even have to run anywhere. The art school was just across the street. When the windows of the classrooms first opened in May, we could hear the sounds of all the instruments and voices of the choir from Lenin Street. So that is where I was planning to go after 8th grade. — Was that your decision? Or was it your parents’ idea? —I wanted to do that. But the principal of the school, Dandynchap, told me brutally: “Specifically you will not get the documents for this from me. You will have to finish 10th grade and go study physics and mathematics!” Compositions – that is so hard! — So you had abilities in physics and mathematics? Yes. I liked all physics, from acoustics to electricity. And math was not difficult for me at all. The solution to any problem was right there in the description of the terms. You simply take the numbers and imagine what has to be done with them. You do not have to add anything of your own! Everybody says that it is much easier in the humanities, that it is easier to write a dictation or composition. Dictation – yes, I agree with that. But compositions – that is very difficult, because you have to struggle and write something out of your own mind. — That sounds funny from the mouth of a humanitarian – doctor of culturology, author of a multitude of articles and monographs. — Somehow I managed to arrange things in such a way that I never had to write compositions in my life. When I went to school, we did not have to write compositions through 8th grade. After the 8th grade graduates went to specialty school, they wrote only dictations, compositions were for those who went on to 10th grade. And after entering the specialty school, we again wrote only dictations. And when I entered the institute in Moscow, graduates from national schools again wrote only dictations. So that is how it worked out: never in my life did I have to write compositions as school assignments. — Regardless of love of mathematics and physics, you chose art. Why? — I don’t think that it is possible to describe this as love. The exact sciences were simply easy for me. The principal of the school, who himself was a physics and math teacher, saw this. He did not want my abilities in exact sciences to go to waste. After his announcement, I came home in tears, and told my mother about it. The next day she went to school with me to speak to the principal. That means that she supported your choice? Yes; at first she went into his office by herself. Then he opened the door and snarled: “Come inside.” The documents were in a safe in his office. The principal got the packet of certificates, found mine, and handed it to me with displeasure: “Take it.” So that is how I got into the art school. I was fifteen years old. To Moscow, to Moscow! — Which specialty did you pick? — At that time, we – yesterday’s schoolkids – did not understand very well what we wanted. I did not enter any specific department. I took dancing, choir, orchestra. We also had individual lessons. I was learning to play the bayan (accordion). Aleksandr Pavlovich Oskin was my teacher. I also played the dombra. — Which of the subjects did you like best? It is hard to say. At that time, very interesting specialists worked there: Ivan Grigorievich Minin, Robert Nikolaevich Lesnikov, his wife Elmira Fedorovna Zhimulyayeva, Anatoli Kuzmich Ognev. They gave a tremendous lot by their enthusiasm and professionalism. — And the continued schooling in Moscow – was that your idea or did the teachers have a hand in it? It was my idea. In 1970’s, we participated in Days of Tuvan Culture and Art, and a whole delegation would be sent to the capital. We were crazy about Moscow. On top of that, before we were due to graduate, two or three people got into the State Institute of Culture. I and my classmates knew that we also would go there. Two of us eventually went on – myself and Lyuba Khurakai. — What did you get from the study at the institute of culture? — We had the same specialties like in the conservatory: choir, orchestra and others, but the institutes of culture prepared specialists for cultural institutions. There was methodology of work in teams, in clubs. There was a special emphasis on music, on notations. — What instruments did you play during all this time of study? Aside from the bayan and dombra I also learned a small repertoire of fortepiano, that was compulsory. But I never planned to be an instrumentalist, the talent for a solo instrumentalist manifests at a very early age. I was more interested not in performance, but in learning everything that had to do with music. So I was able to discern the general, and to see what it consisted of. Not Knowing the Alphabet With her conducting teacher, Aleksei Matveyevich Kovalev. May 1977.That means that you understood that you are – an analyst? — I suspect that nature gave me analytic abilities. It is difficult to see how anybody could influence it in any way. To bring up an analyst, a researcher, without any inborn predilections, is impossible. I also read a lot since childhood. Nobody influenced me, nobody made me do it. Reading in our family was a natural activity. My mother was capable of spending the last money for books. Now I hear many people say that they can’t get their children to read. Correspondingly, the growing generation does not know the alphabet, and therefore can’t work with dictionaries or catalogs of libraries. But all this should start with a natural, ordinary activity in the family! My sons Valentin and Aldar also read since childhood, they can deal with reference books, and are great at finding things out on the Internet. Currently both of them work with computers. To the Bolshoi Theater – Through the Service Entrance. — Did you do any research during your student years? — The institutes of culture were not strongly oriented towards scientific work by the students. Mostly, it was playing in orchestra, work with the choir, and dance groups, that was more interesting for the students. But I personally developed an interest in science and research. I will tell you about my pedagogue in conducting, Aleksei Matveyevich Kovalev, a friend of the distinguished Soviet composed and conductor Nikolai Semyonovich Golovanov. He gave me much more, wider and deeper knowledge in all the musical subjects than was required by the program of the culture institute. Individual lessons normally, according to plan, took 45 minutes. With him, the lessons sometimes took 2-3 hours. Instrumentation is a whole science in itself, real analytic work. There are masses of questions to solve. For example: how can you write one simple melody for the whole orchestra, so that it would sound in all the voices? Kovalev took every nuance apart thoroughly and in an interesting way, he would tell stories about composers, conductors, performers. He told us about his work in the Bolshoi Theater, about productions. He often took us, his students, into the Bolshoi Theater through the service entrance. We watched the shows, and then he would play through the whole production, show us the instrumentation, explained a lot in an interesting way. That way he introduced us to the atmosphere of great art, taught us to have a creative approach to it. My Element — But after the institute, you started your professional life as a pedagogue, teaching in the school of arts, without doing research. — Yes, I came back to work in the art school, I was teaching conducting and other subjects. I worked like tat for eight years, and for the last year and a half, I was a substitute for the director after the teaching work. But after that, I went to TNIIYaLI. — Isn’t the art school the center for creative work by definition? Or were you not able to express there everything that your teacher taught you? All the same, teaching work is mostly a lot of routine. The students come, you prepare them, then they graduate and you get new ones. Like that – in cycles, repeating every four years. For the students it is all new, but for the teacher the program becomes worn out, predictable, and often it does not change at all for many years. Routine sets in, and creativity is finished. So, one day, Zoya Kyrgysovna Kyrgys, also a musicologist and my colleague showed up. She said: “ Wouldn’t you like to transfer to our institute?” She was working at the TNIIYaLI at the time. The institute formed a new sector of culture, and, in her words, they needed one more musicologist. At the time, the head of that sector was Anton Kavaayevich Kalzan, and the director of the institute was Yurii Luduzhanovich Aranchin. The team had many very strong scientists: Dorug-ool Aldyn-oolovich Mongush, Boris Isaakovich Tatarintsev, Mongush Khurgul-oolovich Manai-ool, Nikolai Alekseyevich Serdobov, and also Kalzan and Aranchin themselves. Of course, musicology was not a high-profile subject for an institute of language, literature and history. Ethnographers, archeologists and linguists were considered their “own” specialists. But I think that this showed Aranchin’s far-sightedness, and also the very intelligent Kalzan’s influence. They decided to bring in musicologists, and it turned out to be for the best for the institute. Tuvan musicology now has a very strong status in Sayan-Altai region, in Siberia, and in Russia in general. We were, of course very lucky that we were given a good start by Aleksei Nikolayevich Aksenov – the first researcher of Tuvan music, the author of the magnificent work “Tuvinskaya narodnaya muzika” (Tuvan national music), which was published in Moscow in 1964. In his time, he described practically all the genres. Even if only a little bit, but everything was described. And after that, based on his work, we started to deepen and widen the ideas. Zoya Kyrgysovna Kyrgys’ candidate work, for example, was dedicated to Tuvan vocal tradition. Aksenov classifies the genres of songs into two kinds: “yrlar” and “kozhamyk”. In a later monograph by Zoya Kyrgys, based on her dissertation, it is more precise: “uzun yrlar”, “kyska yrlar” and “kozhamyktar”. I emphasize that we are not criticizing our precursor, it is not even possible to criticize him. We are simply grateful that he set such a tone. With additions and increased precision, we get a fuller picture of Tuvan musical culture. — So you found your calling with the transfer to TNIIYaLI? Husband Vyacheslav Salchak with sons Valentin and Aldar, 1985.— Yes, I felt that somehow finally I got to my right place. This is the kind of work, the sphere of activity, where I feel comfortable, which I like, and where I can actually accomplish something. This is my element. I came to work at TNIIYaLI in September 1985. In November, there was to be a conference in Novosibirsk, and I was expected to present my theses there. I wrote them. Kalzan read them. In TNIIYaLI there was a widespread practice of strict control over the texts of all the scientists, starting from the theses, ending with monographs. All our works went through the hands of multiple levels of supervisors, science secretary, and the director himself. They went through the manuscript and corrected mistakes, inaccuracies, “smoothed out” the texts. The manuscript was improved by it, all in all, it was very useful for the work. Now, unfortunately, this tradition has been lost. Anton Kavaayevich, having read my theses, said: “Yes, you can work.” Usually Aranchin hired people and gave them a probation period. During this period, the new worker was expected to write a certain number of theses and articles. The senior colleagues would evaluate them and come up with a decision, whether or not this worker can do science or not. So I stayed at TNIIYaLI. Would not speak for a long time And when did you learn English? — I learned late and I would hesitate to describe the level of my proficiency as “free”. At school I had a late start, because I started the classes at School No.2 halfway through the school year, and out in the district we had no English lessons. At the art school, I studied Russian. At the institute, I was in the group of graduates from national schools, and instead of foreign languages, we took Russian. I started studying a foreign language independently only in the fourth year, together with my friend form the dormitory, but not for long. I really started only at TNIIYaLI, when I had to take a candidate examination. I studied it all over again at home, by myself. My teacher is somewhere here, on one of the lower shelves. It is a textbook which I crammed from cover to cover. It is a children’s level textbook, but I respect it and treasure it, and will never give it to anyone. — But how did it work out with speaking practice? — For a long time, I was too shy to speak. I wasted almost ten years in reading, translating. Long, thorough book study delays speaking by a lot. It is better to start speaking, and study the grammar later. In 1990’s, when foreigners first started coming to Tuva, at first I would not speak. But then I began to catch analogies with Tuvan language: the syntax, word order, was sometimes the same. I started speaking. But still, if there is a translator in the group, my brain “switches off”, and refuses to strain itself. When there is no help for it, I speak, and actually quite fluently. Pursuing the secret of Tuvan music — Is the book “Where Rivers and mountains Sing: sound, music and nomadism in Tuva and beyond”, which you wrote in co-authorship with Ted Levin, which was published in English in USA in 2006, the first example of a joint publication of a Tuvan scientist with a foreigner? — For Tuva, yes, it is the first. I mean in the humanities. As far as physics or mathematics – I would not really know exactly. I did not actually write the text, Ted wrote it. But we collected the material together, for several years we traveled throughout the republic. And not just in Tuva. — What does your work on the expeditions consist of? — We travel through the districts from one master to another, and make recordings of their playing. Then we go over it in Kyzyl, we analyze it. Foreigners specifically plan on a few days of work in the capital, so that they could get my explanations. For example, that is how we worked with Ted. I myself was a valuable source of information for him, because at that time I already had experience of working with the old masters, I knew them personally and had worked with them before. I already had an opinion based on the collected material and observations. But he started coming here only after many of them had already left this life. I shared my commentaries and observations. And also…as a child I had lived for a long time in a yurt with my grandmother not far from Teeli, towards Kyzyl-Dag. That was also an important experience for me. It is important that everything that is connected with nomadic culture has to be viewed through the perceptions of somebody who lives in a yurt. A city-dweller, who grew up between four walls, perceives the world in a different way, he can’t hear the sounds of nature like a nomad in his yurt. — But what is it about our music that interests the foreigners, according to your observations? Even for an inexperienced ear, especially at the first hearing, Tuvan music is very unusual. It leaves a very deep impression, that’s how specific it is. Certainly for almost every non-specialist, at the very least this question arises: “What is this? What kind of music is this?” And then, of course, it becomes interesting to figure it out: what is the specificity of the music, what is the singularity, where is the hidden secret. They come to Tuva with the desire to understand this phenomenon. I personally am just barely getting close to solving the secret. I needed many years for it… print
100 1 2 3 4 5 Chimiza Lamajaa, Center of Asia No.32, 2009
Relates news
Scientific Journal about Tuva on the InternetTuvan Scientist Defended Doctorate on Tuvan MusicTuvan Scholar Takes Part in the International Mongolia-Russia ConferenceIgor Koshkendei is Grand-Prix Winner in Khoomei-2002Music Researcher from Tuva Proves Scientifically Originality of Tuvan Music

https://en.tuvaonline.ru/2009/09/07/5200_suzukey.html

Deep Trance Mongolian Tuvan Throat Singing | Shamanic Journey | Healing Waves

Deep Trance Mongolian Tuvan Throat Singing | Shamanic Journey | Healing Waves

20,488 views•Dec 7, 2018 4347ShareSaveHealing Waves 1.72K subscribers Hello Beautiful Tribe Member! Deep Trance Mongolian Tuvan Throat Singing Shamanic Journey Healing Waves – Enhance Self Love – Energy Cleanse – Miracle Music Healing. Peaceful, empowering and soothing music and nature footage to nurture your mind, body, and soul. Supporting and empowering you on your life journey. This Tuvan throat singing meditation will help you in going into a meditation deep trance shamanic state, using throat singing chakra healing, you will balance your throat chakra. Music is tuned to 432Hz With Ancient Shamanic Trance elements which help in Synchronizing the right and left hemispheres of the brain, with the Theta Waves and opening a gate into the Sub-conscious mind. Do you want Unique Tuvan Trance Music? The Shaman Within – Shamanic Music Is a 5 Track Album of 5 Hours, that will take you into the Deepest trance state your looking for. https://www.healingwavess.com/collect… ◐ The Power of Sound Vibration ◑ When we dive into the human body, going into our organs, cells, molecules, atoms, and even smaller particles, we find that all that is left is a Vibration, a Wave of movement. We are made of vibration, that’s why Sound Vibration is effecting us so Deeply. When the Sounds from the Meditation Music, come across our Body, they resonate with our Atoms, Cells, Molecules, and Organs, balancing them into their original Frequency and Vibration. as Nikola Tesla said before: “If you want to find the secrets of the Universe, think in terms of energy, frequency, and vibration.” ◐ Shamanic Trance ◑ The word “Trance” comes from the Latin word “Transire” meaning to cross over. The old Shamans used to Cross over to the underworld, where is it you ask yourself? In today’s modern world we know that there is the known meaning the conscious mind and the unknown meaning the unconsciousness mind or the underworld. Another word to Trance state can be Altered states of consciousness, and what exactly does it mean you ask? When we change the brainwaves pattern in our brain from Beta (Daily stressful life) to Alpha (Relaxation) / Theta (Dreaming) / Delta (Deep Dreamless sleep), we change the state of our consciousness and entering into an altered state. In the Trance state, this Meditation Music or Shamanic Music Album will take you, you will change your Brainwaves Patterns, and you may achieve a different state of consciousness, each will suit your inner needs, maybe you need to let go of stress or maybe you need to let go of repressed emotions? you can get into the state you need by just playing this music will practicing your Meditation. ◐ Healing Waves Community ◑ Healing Waves is the understanding that we are all one big family, we all suffer and we all overcome suffering, and we can do it the hard way, each soul on its own, or we can do it the easy way, as one big family, one big community helping each outer on the journey of life. Here in Healing Waves, we understand that while practicing Meditation and Yoga, we are polishing the diamond we are, we are reaching our higher potential, we are using new DNA strings and becoming the best version of ourselves. In Healing Waves we combine the sacred and the profane, we use the latest scientific research on Brainwaves and the effect of music on the human brain. That is how we able to create the most unique Meditation Music for our community practice. Our product collections aimed to aid our community members in practicing different Meditation techniques, gaining better benefits and boosting the experience of your Meditation and Yoga practice. ◐ Join Our Community ◑ Site http://www.HealingWavess.com ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ Blog http://www.healingwavess.com/pages/blog ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ Instagram http://www.instagram.com/healing.wavess ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ Facebook http://www.facebook.com/HealingWavesPage ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ “There is some kind of a sweet innocence in being human—in not having to be just happy or just sad—in the nature of being able to be both broken and whole, at the same time.” – C. JoyBell C. From Deep Within our Soul, From the Bottom of the Heart, We send love to all living creatures. May we all find peace, and compassion in our life. Sefy From Healing Waves ❤

Anna Liesowska & Derek: Secrets of throat singing revealed by scientific research into the unusual sounds

Secrets of throat singing revealed by scientific research into the unusual sounds

By Anna Liesowska & Derek Lambie 22 December 2014

Unique physiology of people in Altai mountain region means only they can perform the melodies that date back centuries.

Shor female shaman performs the rite. Picture: Maxim Kiselyov

It is a unique and distinctive form of singing only found in one small part of the world. Now scientific research has finally discovered why the unusual sounds of throat singing have never spread out from the isolated steppes of the Altai and Sayan mountains.

Simply put, the people of Tuva and southern Siberia have different vocal cords to the rest of the planet and are the only ones with the capability to master the art.

Experts from the Institute of Philology, at the Siberian Branch of the Russian Academy of Sciences, have found that Turks’ vocal cords are slightly wider and the larynx is not as extended, allowing them to make the unique sounds required.

Throat singing produces a unique pitch and sound that comes from deep within the throat and it is said to date back centuries.

Throat singing secrets

Throat singing secrets

Tuvan singer Choduraa Tumat. Altai boy playing khomus. Pictures: Tuva Online, Altai Komus

According to a March 2006 edition of Newsweek magazine, throat singing is described as coming from a ‘human bagpipe, a person who could sing a sustained low note while humming an eerie whistle-like melody’.

The article added: ‘For good measure, toss in a thrumming rhythm similar to that of a jaw harp, but produced vocally by the same person, at the same time.’

It is thought that it originated from Mongolian men who utilised the wide open landscape to make the sounds carry a great distance. Indeed, singers often travel far into the countryside looking for the right river or mountainside in which to create the proper environment.

Over time it now looks as if the way the singing was performed altered the physiology of the throats of people living in the Altai region.

Two residents of the Tashtagolsky district, in Kemerovo, took part in the Institute of Philogy research in Novosibirsk using modern methods to study the physiology of their speech.

Both TV journalist Raisa Sanzhenakova and culture worker Maria Idigesheva, who is head of the Taglyk Shor public organisation, are excellent native speakers of Turkic Shor. The language is spoken by only about 2,800 people in the Kemerovo province in south central Siberia, with many of its roots borrowed from Mongolian.

The experiment was filmed and a documentary on the results will be broadcast in January on local television.

However, one of the main conclusions is that the different throats of the people in the region help them to make the distinctive sounds in a way that people in Europe, for instance, would be unable to.

Throat singing secrets

Throat singing secrets

Shor music group ‘Ot Ene’. Maria Idigesheva, head of the Taglyk Shor public organisation. Pictures: r-19.ru, Maria Idigesheva

Raisa Sanzhenakova said: ‘For three days we talked with Novosibirsk scientists. Our speech using the Shor language was recorded with special equipment and was examined for the articular parameters of speech.

‘Digital radiography and magnetic resonance imaging studied our vocal apparatus and brain.’

The research took place in the laboratory of experimental phonetic studies, which was established in the late 1960s and is the only one of its kinds in Russia.

Since its creation, researchers have described the phonetics and phonology of more than 40 languages, dialects and sub-dialects.

https://siberiantimes.com/science/others/news/0070-secrets-of-throat-singing-revealed-by-scientific-research-into-the-unusual-sounds/

University Of Arizona Tuvan Throat Singing Study

University Of Arizona Tuvan Throat Singing Study

202 views•Mar 27, 2020 100ShareSaveKJZZ Phoenix 794 subscribers Researchers at the University of Arizona use MRI scans to solve the mystery of how Tuvan throat singers are able to produce what sounds like two different pitches at the same time.

TEDxCaltech – Steve Collins, Lyle Mays, Kongar-Ol Ondar – Tuva or Bust!

TEDxCaltech – Steve Collins, Lyle Mays, Kongar-Ol Ondar – Tuva or Bust!

39,196 views•Mar 11, 2011 3614ShareSaveTEDx Talks 25.2M subscribers A vignette from “Tuva or Bust!” by Ralph Leighton Richard Feynman – Steve Collins Tuvan throat singer – Kongar-Ol Ondar Directed by Shirley Marneus Music by Kongar-Ol Ondar and Lyle Mays Tuvan stamps provided by Alan Leighton Presentation assistance by Ian Leighton Feynman portrait by Sylvia Posner Ladakhi monk costume sewn by Gwyneth Feynman, courtesy of Michelle Feynman About TEDx, x = independently organized event: In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized. (Subject to certain rules and regulations.) On January 14, 2011, Caltech hosted TEDxCaltech, an exciting one-day event to honor Richard Feynman, Nobel Laureate, Caltech physics professor, iconoclast, visionary, and all-around “curious character.” Visit TEDxCaltech.com for more details.