who asked the first question? - International Research Center For ...
who asked the first question? - International Research Center For ... who asked the first question? - International Research Center For ...
236ethnic groups from the mountainous and steep regions of Sayan-Altai mountain grade,where the ancestors of the contemporary Tuva people lived. Vainstain roughly dated theorigins of overtone singing by the 1 st millennia.• The Mongol linguist and musicologist, Jamtsyn Badraa, published in 1981 anarticle “Xoomei” and “Urtin Duu – Specific Phenomenon of Mongol traditional ClassicMusic” (published in Russian). The article is mostly devoted to the clarification of theterms khoomei, hoomii, xoomei and the unification of overtone singing with a melodicwhistle through the teeth (isgerex) and playing instruments (tsur and xulsun-xuur) in arelated musical-stylistic system.• Khamza Ikhtisamov, an ethnomusicologist from Central Asia, in his 1984 article“Notes on Two-Part Throat Singing of Turkic and Mongol Peoples” concentratedprimarily on the archaic features of the sound-producing method in different styles ofovertone singing. Based on the study of two Russian scholars, B. Chernov and V.Maslov, Ikhtisamov concluded that the acoustic – physiological characteristics of theperformer’s throat during the overtone singing must have been characteristic for humansocieties before the development of speech and singing abilities (Ikhtisamov, 1984:180).Ikhtisamov dated the origins of overtone singing deep in the prehistoric times of 30-40thousand years ago (ibid 180-181). Ikhtisamov discussed the use of the term sygyt (lit.“whistling” in Tuvan), the name of one of the most popular styles of overtone singing, inan epigraph dedicated to the Turkic chief Kiul-Tigin (died in 732). This term meant inancient Turkic “to lament”, or “dirge”, or “to make yourself lament”. It is not clearwhether the term was used in the 8 th century to denote overtone singing during ritualmourning, but as we know, the repertoire of overtone singing does not have connectionswith burial rites. Connection to burial rites is considered to be one of the most stable inhuman societies and cultures.• Carole Pegg’s 2001 book “Mongolian Music, Dance, and Oral Narrative” givesa comprehensive analysis of the overtone singing tradition in Mongolia. According toCarole Pegg, overtone singing in Mongolia has several social functions: it is used to lullbabies to sleep, to call yaks and, among the Baits, during part of a wedding celebration –“seeing of the bride.” The Tsaatans, a group of people from Northwest Mongolia, use itduring hunting. This singing style is physically very demanding. “The best hoomiiperformers are often champion wrestlers at the peak of their strength; and evenprofessionals have injured the larynx, burst blood vessels in the eyes, and lostconsciousness, particularly when performing hamryn and turlegt hoomii” (Pegg,2002:1009-1010)• Ted Levin was a member of the New York-based Harmonic Choir, when heardthe Tuvan recording and found one of his lifelong scholarly attractions. In 1987 hebecame the first American to do fieldwork in Tuva, and then helped Tuvan performers tostart touring (from 1993 on) in the USA and other parts of the Western World. Levinstressed the use of certain overtones and the conscious missing of seventh and eleventhharmonics, which are not part of the pentatonic scale. “The resulting harmonic scaleexpresses the strongly pentatonic character of many Tuvan melodies, demonstrating thatfor performers of khoomei, the harmonic series is not simply a naturalistic sonic resourcebut is musically shaped and stylized in ways that reflect ingrained cultural preferences”.Levin, 2002b:982). His recent book “Where Rivers And Mountains Sing”, written
237together wit Valentina Suzukei (2006) gives a comprehensive picture of the Tuvanovertone singing tradition.• Mark van Tongeren, a Dutch scholar and performer, published a book in 2002“Overtone Singing: Physics and Metaphysics of Harmonic in East and West”, providing alook at this phenomenon both as a performer and a scholar.• In her 2002 book “Tuvan Throat-Singing” (in Russian) Tuvanethnomusicologist Zoya Kyrgyz surveyed all existing ethnographic and historic materialsconnected to overtone singing in Tuva. The biggest existing variety of the types ofovertone singing in Tuva, according to the scholar, proves the Tuvan origin of thisphenomenon.• Mongolian musician Tserendavaa holds another opinion, suggesting that it is aChandman, a region in western Mongolia that gave birth to overtone singing tradition(Levin, 2006:69).To understand the origins of the overtone-singing phenomenon, and to criticallycheck the possibility of this singing style being extremely ancient, it is very fruitful tohave a careful look at the region of distribution of overtone singing and to take intoaccount the historical context of the groups of peoples practicing overtone singing.Geography and the ethnic history of this region brings the following facts to ourattention:(1) According to the data of archaeology and physical anthropology, theregion of Central Asia underwent a major population change. Thegrowing body of information suggests that almost till the end of thefirst millennia c. e. this region was mostly populated by peoples withdifferent, mostly European (Caucasian) physical characteristics, andsupposedly, culture. Besides growing archaeological and physicalanthropological evidence, these older layer of the peoples from thisregion had been mentioned in Chinese historical records as well.(2)Starting from the 9 th century, major ethnic and population changes tookplace in Central Asia. New waves of peoples (mostly fromcontemporary China) replaced the previous populations in many partsof Central Asia. This process of a westwards movement of the EastAsian population resulted later in a series of major conquest wars ofthe great Mongol Empire, reaching well into Central Europe in the 13 thand 14 th centuries.(3) Physical anthropological studies of Central Asia by Russiananthropologists suggested that the old European substratum is stillclearly evident among the peoples of certain regions of Central Asia.More specifically, this substratum is best preserved among thepopulations of: (a) western Tuva, (b) Western Mongolia, and (c) thepeoples of the Altai-Sayan mountain ranges.
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237toge<strong>the</strong>r wit Valentina Suzukei (2006) gives a comprehensive picture of <strong>the</strong> Tuvanovertone singing tradition.• Mark van Tongeren, a Dutch scholar and performer, published a book in 2002“Overtone Singing: Physics and Metaphysics of Harmonic in East and West”, providing alook at this phenomenon both as a performer and a scholar.• In her 2002 book “Tuvan Throat-Singing” (in Russian) Tuvanethnomusicologist Zoya Kyrgyz surveyed all existing ethnographic and historic materialsconnected to overtone singing in Tuva. The biggest existing variety of <strong>the</strong> types ofovertone singing in Tuva, according to <strong>the</strong> scholar, proves <strong>the</strong> Tuvan origin of thisphenomenon.• Mongolian musician Tserendavaa holds ano<strong>the</strong>r opinion, suggesting that it is aChandman, a region in western Mongolia that gave birth to overtone singing tradition(Levin, 2006:69).To understand <strong>the</strong> origins of <strong>the</strong> overtone-singing phenomenon, and to criticallycheck <strong>the</strong> possibility of this singing style being extremely ancient, it is very fruitful tohave a careful look at <strong>the</strong> region of distribution of overtone singing and to take intoaccount <strong>the</strong> historical context of <strong>the</strong> groups of peoples practicing overtone singing.Geography and <strong>the</strong> ethnic history of this region brings <strong>the</strong> following facts to ourattention:(1) According to <strong>the</strong> data of archaeology and physical anthropology, <strong>the</strong>region of Central Asia underwent a major population change. Thegrowing body of information suggests that almost till <strong>the</strong> end of <strong>the</strong><strong>first</strong> millennia c. e. this region was mostly populated by peoples withdifferent, mostly European (Caucasian) physical characteristics, andsupposedly, culture. Besides growing archaeological and physicalanthropological evidence, <strong>the</strong>se older layer of <strong>the</strong> peoples from thisregion had been mentioned in Chinese historical records as well.(2)Starting from <strong>the</strong> 9 th century, major ethnic and population changes tookplace in Central Asia. New waves of peoples (mostly fromcontemporary China) replaced <strong>the</strong> previous populations in many partsof Central Asia. This process of a westwards movement of <strong>the</strong> EastAsian population resulted later in a series of major conquest wars of<strong>the</strong> great Mongol Empire, reaching well into Central Europe in <strong>the</strong> 13 thand 14 th centuries.(3) Physical anthropological studies of Central Asia by Russiananthropologists suggested that <strong>the</strong> old European substratum is stillclearly evident among <strong>the</strong> peoples of certain regions of Central Asia.More specifically, this substratum is best preserved among <strong>the</strong>populations of: (a) western Tuva, (b) Western Mongolia, and (c) <strong>the</strong>peoples of <strong>the</strong> Altai-Sayan mountain ranges.