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The Throat Singers of Tuva

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The Throat Singers of Tuva KAREN SHERLOCK THE THROAT SINGERS OF TUVA Testing the limits of vocal ingenuity, throat-singers can create sounds unlike anything in ordinary speech and song—carrying two musical lines simultaneously, say, or harmonizing with a waterfall by Theodore C. Levin and Michael E. Edgerton rom atop one of the rocky escarpments that criss- practice and call it overtone singing, harmonic singing or cross the south Siberian grasslands and taiga forests harmonic chant. Such music is at once a part of an expres- F of Tuva, one’s first impression is of an unalloyed si- sive culture and an artifact of the acoustics of the human lence as vast as the land itself. Gradually the ear habituates voice. Trying to understand both these aspects has been a to the absence of human activity. Silence dissolves into a challenge for Western students of music, and each of us— subtle symphony of buzzing, bleating, burbling, cheeping, one a musical ethnographer (Levin), the other a composer whistling—our onomatopoeic shorthand for the sounds of with an interest in extended vocal techniques (Edgerton)— insects, beasts, water, birds, wind. The polyphony unfolds has had to traverse the unfamiliar territory of the other. slowly, its colors and rhythms by turns damped and rever- berant as they wash over the land’s shifting contours. Sound Mimesis For the seminomadic herders who call Tuva home, the soundscape inspires a form of music that mingles with these n Tuva, legends about the origins of throat-singing assert ambient murmurings. Ringed by mountains, far from major Ithat humankind learned to sing in such a way long ago. trade routes and overwhelmingly rural, Tuva is like a musi- The very first throat-singers, it is said, sought to duplicate cal Olduvai Gorge—a living record of a protomusical world, natural sounds whose timbres, or tonal colors, are rich in where natural and human-made sounds blend. harmonics, such as gurgling water and swishing winds. Al- Among the many ways the pastoralists interact with and though the true genesis of throat-singing as practiced today is represent their aural environment, one stands out for its obscure, Tuvan pastoral music is intimately connected to an sheer ingenuity: a remarkable singing technique in which a ancient tradition of animism, the belief that natural objects single vocalist produces two distinct tones simultaneously. and phenomena have souls or are inhabited by spirits. One tone is a low, sustained fundamental pitch, similar to According to Tuvan animism, the spirituality of mountains the drone of a bagpipe. The second is a series of flutelike and rivers is manifested not only through their physical shape harmonics, which resonate high above the drone and may and location but also through the sounds they produce or can be musically stylized to represent such sounds as the whistle of a bird, the syncopated rhythms of a mountain stream or VOICE OF A HORSE in Tuvan music, the igil—played here the lilt of a cantering horse. by Andrei Chuldum-ool on the grasslands of southern Siberia In the local languages, the general term for this singing is (also above)—is a two-stringed upright fiddle made from khöömei or khoomii, from the Mongolian word for “throat.” horse hide, hair and gut and used to re-create equine sounds. In English it is commonly referred to as throat-singing. Some Sound mimicry, the cultural basis of Tuvan music, reaches its contemporary Western musicians also have mastered the culmination in throat-singing. 80 Scientific American September 1999 The Throat-Singers of Tuva Copyright 1999 Scientific American, Inc. Copyright 1999 Scientific American, Inc. THEODORE C.LEVIN NASAL CAVITY 1,046.5 981.1 915.7 C6 * B5 B5 850.3 * 784.9 A5 G5 SOFT PALATE 719.5 * SCALE ALVEOLAR RIDGE 654.1 F5 E5 588.7 USED BY 523.3 D5 C5 TUVAN 457.8 * THROAT- B4 SINGERS 392.4 VALLECULA G4 327.0 E4 ) t 261.6 C4 char T ( 196.2 G3 URNET EPIGLOTTIS LISA B LIPS ); 130.8 C3 wing a FREQUENCY OF HARMONIC (Hertz) FREQUENCY dr WYNNE ( PHARYNX TONGUE TRICIA C. 65.4 FUNDAMENTAL A C2 P LARYNX EPIGLOTTIC ROOT HUMAN VOICE is a complex musical instrument: the buzz from the vocal folds (and, in some throat-singing, from the so-called false folds) is shaped by the rest of the vocal tract ARYTENOID FALSE VOCAL FOLD (left). The buzz is a composite of a fundamental tone (such CARTILAGE as low C, with a frequency of 65.4 hertz) and its harmonics, whose frequencies are integral multiples (above). Shown VOCAL FOLD here are the nearest corresponding notes in the equal-tem- ESOPHAGUS pered musical scale; the asterisks indicate harmonics that do TRACHEA not closely align with equal temperament. be made to produce by human agency. ginning to practice the technique as are symbols of national cultural identity. The echo off a cliff, for example, may be well. The popularity of throat-singing The most virtuosic practices of throat- imbued with spiritual significance. Ani- among Tuvan herders seems to have singing are concentrated in Tuva (now mals, too, are said to express spiritual arisen from a coincidence of culture and officially called Tyva), an autonomous power sonically. Humans can assimilate geography: on the one hand, the ani- republic within Russia on its border this power by imitating their sounds. mistic sensitivity to the subtleties of with Mongolia, and in the surrounding Among the pastoralists, emulating sound, especially its timbre, and on the Altai region, particularly western Mon- ambient sounds is as natural as speak- other, the ability of reinforced harmonics golia. But vocally reinforced harmonics ing. Throat-singing is not taught formal- to project over the broad open landscape can also be heard in disparate parts of ly (as music often is) but rather picked of the steppe. In fact, two decades ago central Asia. Among the Bashkirs, a up, like a language. A large percentage concert performances were uncommon Turkic-speaking people from the Ural of male herders can throat-sing, al- because most Tuvans regarded the music Mountains, musicians sing melodies with though not everyone is tuneful. A taboo as too “down home” to spend money breathy reinforced harmonics in a style against female throat-singers, based on a on. But now it leads a parallel public life. called uzliau. Epic singers in Uzbekistan, belief that it causes infertility, is gradual- Professional ensembles have achieved Karakalpakstan and Kazakhstan intro- ly receding, and younger women are be- celebrity status, and the favorite singers duce hints of reinforced harmonics in RADIATION SOURCE FILTER CHARACTERISTIC NET OUTPUT 48 C2 FORMANT 36 C3 G3 C4 24 E4 G4 B4 C5 AN CHRISTIE 12 D5 E5 Y F5 G5 BR A5 B5 B5 RELATIVE POWER (dB) 0 C6 65 523 131 196 262 327 392 458 589 654 719 785 850 916 981 FREQUENCY (Hertz) 1,047 SOURCE-FILTER MODEL treats the voice as a set of distinct ones. The filter—the vocal tract—transmits some harmonics components. The source—the vocal folds—produces a blend of (those that line up with its formants) more readily than others. harmonics that are louder at lower frequencies than at higher The radiation characteristic of the outside air is a second filter. 82 Scientific American September 1999 The Throat-Singers of Tuva Copyright 1999 Scientific American, Inc. FORMING FORMANTS lthough the vocal folds can produce an amazing variety of sure differences along the tube. At certain positions called pres- A sounds,it is the vocal tract that molds the raw sounds into sure nodes, the pressure remains constant while the molecules language and music.The tract imposes a pattern on the folds’ must traverse their greatest distance. At other positions called composite sound by picking out a certain combination of pressure antinodes, the pressure fluctuates by its maximum tones: namely, those that match the natural resonant frequen- amount while the molecules stay put.(One can ignore their ran- cies of the air within the tract.As people speak or sing,they raise dom thermal motion,which is not relevant to the choreography and lower the resonant frequencies—also known as formant of wave motion.) Because the closed end of the tube prevents frequencies—by moving their tongue,lips and so on. molecules from moving,it must be a pressure antinode.The end These movements are normally perceived as shifts in vowel ar- open to the outside air must be a pressure node.Each higher for- ticulation.The frequency of the first formant,F1,is inversely related mant adds another pair of node and antinode (below,left). to tongue height (F1 falls as the tongue rises, as during the change from /a/ in “hot”to /i/ in “heed”).The frequency of the sec- ow suppose that the tube is squeezed, as happens when ond formant,F2,is related to tongue advancement (F2 rises as the N the tongue constricts the tract. The nodes and antinodes tongue moves forward, as when /o/ in “hoe”moves toward /i/ in still alternate, but the frequency changes in proportion to the “heed”).Theoretically,the vocal tract has an infinite number of for- amount of squeezing.A constriction near a pressure node lowers mants,but the arrangement of the first two or three accounts for the formant frequency, whereas a constriction near a pressure most of the difference among vowel sounds (below,right). antinode raises it.Enlargement has the opposite effect.These rules To understand why the formant frequencies shift,imagine that of thumb were first explained by Lord Rayleigh a century ago. the vocal tract is a tube closed at one end (the folds) and open at At a node, squeezing the tube forces the molecules to pass the other (the lips).Next,imagine that the tube is uniform in cross through a narrower opening.
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