Publications in the Traditions section

Voice Miracle

Throat singing is a relic preserved by the traditional cultures of Siberia and Central Asia. Most of the peoples who own this art live on the territory of our country. Portal "Culture.RF" has collected the most interesting facts about throat singing.

Turks, Mongols, Kamchadals... and more

Throat singing is common among peoples living on a vast territory from Altai to Chukotka: Khakass, Altaians, Buryats, Tuvans, Yakuts, Chukchi, Evens, Evenks, Nganasans, Koryaks, Nenets, Itelmens and others. In the European part of Russia, throat singing is known to the Bashkirs and Kalmyks. Researchers believe that it came to Bashkiria with the Turkic tribes. The Kalmyks brought this art with them from Mongolia, where it is still extremely popular today. Throat music can also be heard in Kazakhstan, Tibet, and some North American Indian tribes. The Indians obviously keep a tradition close to the peoples of Chukotka, Kamchatka, the Commander and Aleutian Islands. There is an opinion that in ancient times many peoples owned throat singing, but over time this archaic art was lost. This theory is confirmed by traces of such sound production in the folk music of Africans and even some Europeans - the inhabitants of Sardinia and Ireland. Tyrolean yodels - the original singing of the inhabitants of the Alps - can also be attributed to some extent to throat singing.

From shamanic rites to the big stage

Throat singing is based on the imitation of the voices of animals and birds, as well as the sounds of inanimate nature - the murmur of water, the echo in the mountains, the whistle of the wind, the rolling of pebbles in a stream. In ancient times, hunters used onomatopoeia to lure their prey, nomadic pastoralists controlled domestic animals with their voices. Epos - tales of gods and heroes - were traditionally performed with a rolling throat sound. Among the indigenous peoples of the North, throat singing remains an integral part of shamanistic rituals to this day. Similar sound production is used in Buddhist worship when reading prayers. In Altai and Tuva, throat singing is considered primarily a high art and is actively developing as a form of professional performance. Onomatopoeic music has an amazing effect on the state of a person: it instantly puts you into a peaceful trance.

Altai kai is performed by the group "Altai Kai"

One person - two votes

One of the first to describe the nature of the two-voice solo was Vladimir Dal, who collected ethnographic material among the Bashkirs. Being a doctor by profession, Dahl captured the essence of throat singing quite accurately: “This is really a wonderful thing: taking as much air as possible into the lungs, this chanter drives hard, without taking a breath, air through the windpipe and its well, or neck, and you hear a clean, clear, sonorous whistle with trills and rifts, like a glass bell, only much longer. This is nothing more than a whistle in the windpipe - a physiologically remarkable phenomenon, especially since the chest voice echoes this whistle at the same time in a deaf, but rather intelligible, monotonous bass.. Modern experts explain that this is possible when the performer is fluent in overtones. Any sound has a number of overtones - "overtones", overtones that differ in height from the main tone. The singer takes the main low tone, and the overtones sound high, like a whistle. The mouthpiece can make the overtone very loud, whistling the melody. Then the main tone plays the role of a continuous bass "background" - bourdon. The voice range is much wider than the usual vocal range. The narrowed entrance to the larynx and the resonator cavities of the pharynx and mouth are involved in the formation of whistling overtones. It is noteworthy that sygyt - a style of two-voice singing with a dominant whistle - is most developed among the Tuvans. The very nature of the Tuvan language, in which there are many vowels pronounced with a constricted larynx, is conducive to this.

Tuvan sygyt performed by Radik Tyulyush

All of them are different

Throat singing does not have a single performance technique and a single sound. In the vocal art of the peoples of Siberia and the Far North, there is a complex system of styles and trends. This legacy was called throat singing by the Europeans. The throat masters themselves will say that there is as little in common between the Chukchi pokhrip, Altai kai, Tuvan khoomei, Bashkir uzlyau and Yakut kylysakh as between the Beatles and Maria Callas. There are throat songs with words, and there are pure imitations of the sounds of nature without a verbal component. Some melodies can be translated into music, others are practically not amenable to musical notation. There are songs learned by performers once and for all, and improvisational songs. In Tuva alone, there are four main styles of throat singing and more than a dozen sub-styles. “According to the data of experiments conducted in the USA in the hospital. Roosevelt in 1995, the throat singing of Tuvans is so specific that it does not give the right to a correct comparison with other hitherto known forms of solo two-voice", - says the website of the Tuvan International Scientific Center "Khoomei".

Chukchi croak performed by Zoya Tagrina, Svetlana Dashina and Oleg Nypevgi

Instead of a guitar

As an echo of primitive art, throat singing exists in close connection with dance, ritual, and playing instruments. For example, among the Chukchi, the singer does not simply portray a deer or a seagull in his voice, but performs a ritual dance, all movements of which are strictly correlated with sounds. It is customary for the indigenous peoples of Kamchatka and Chukotka to compose and give songs on all important occasions. Parents compose a personal song for the baby. Later, a person invents personal songs himself, memorizes ancestral songs and songs of his ancestors. Shamans compose songs for calendar holidays and on the occasion of significant events. All this is performed not only in a throaty way, but also with a singing sound that is quite familiar to the European ear. In almost all nations, the throat "lose" can coincide with the instrumental part of the work or even replace it. Most often, throat singing alternates with "normal" singing, and also sounds in all sorts of combinations with national instruments - percussion, strings, reeds.

The dance-song of seagulls is performed by the Koryak folklore ensemble "Angt"

Throat singing as a national idea

Tuva is considered the world capital of neckers. In Tuva, throat singing is called khoomei, one of the four main styles has the same name. Usually a professional performer - khoomeizhi - owns one or two styles, but there are exceptional cases when a person is subject to all styles of singing. Almost every Tuvan family sings at least a little khoomei. Throat singing is taught to boys and girls at home and in children's music schools, where khoomei classes are as common as piano or violin classes. In the capital of the republic, Kyzyl, the International Scientific Center "Khoomei" operates, numerous throat singing competitions are held. The modern teacher Angyr-ool Khertek writes: “The most important instruction of the ancestors is to find your own style and go your own way slowly, to learn the correct natural breathing when performing. The khoomeiist must know the limits of his possibilities. If khoomei is measured and taught according to the canons of modern music, according to musical signs, then the free flight of performance, the uniqueness of khoomei, will disappear. The khoomei does not belong to us, but we, the performers, belong to the khoomei. They don’t listen to us, but bow down and praise the khoomei”.

Honored Artist of Russia People's Khoomeizhi of Tuva Kongar-ool Ondar and the Ertine Ensemble

Throat singing has been known since ancient times. This is a special singing technique based on a combination of root and overtones, resulting in a two-voice solo. Some masters can play three, four or even five notes at the same time. Today it is performed not only by peoples who have such singing in tradition, but also by ordinary musicians around the world.

From Sardinia to Japan

The ancient art of throat singing is known to many peoples, it was especially widespread among the Turkic and Mongolian tribes. This is an integral element of the culture of the Kazakhs, Kirghiz, Bashkirs, Altaians, Yakuts, Buryats, Kalmyks; this style of performance is well known to the Chukchi, Evenks, Inuit, Saami; throat singing is a part of Tibetan worship and can be heard both in Africa (for example, among some Bantu peoples) and in Sardinia (where it is known as cantu a tenòre). The Ainu living in Hokkaido also had their own style of throat singing, but at present its secret has been lost (the last national performer died in 1976, only a few recordings remain).

There are several legends about how this art arose, and all these legends are quite poetic. Somewhere they say that a young hermit learned this way of singing, listening to a strong wind whistling in the rocks, causing a booming echo. Somewhere they talk about imitating the cry of a camel mourning her dead cub. Be that as it may, throat singing is based on onomatopoeia - the cries of animals and birds, or the sounds of nature: mountain echo, the whistle of the wind, the murmur of water. Ancient hunters lured game in this way, nomadic cattle breeders controlled herds with the help of their voices. Somewhere here one should look for the roots of this ancient art.

It should be noted that a huge variety of performance styles exists not only on paper: the differences can really be very strong. For example, there are traditional compositions with an unchangeable form, and improvisational songs. There are songs with words and pure onomatopoeia. Some are performed with the accompaniment of a musical instrument, some without. By the way, not all melodies lend themselves to musical notation. Sometimes the performance is supplemented by dance: for example, a Chukchi singer not only imitates the voices of animals, but also depicts their movements. A lot depends on the performer and the school to which he belongs. For example, in Tuva there are four main styles of throat singing and more than a dozen sub-styles.

Not a woman's business

The tradition of throat singing is closely intertwined with shamanism, which is not surprising - in ancient times (and among many indigenous peoples of the North at the present time) it was considered an integral part of shamanistic rituals. Monotonous sounds helped the shaman (and also his patient, if it was a question of treatment) to enter a state of trance; it was believed that throat singing allows you to establish a connection with spirits or gods. As a result, it was often used in worship - in modern Tibet this is still practiced now (when reading Buddhist prayers), there are even special educational institutions where future monks are taught this art.

In addition, folk narrators often used throat singing to perform the epic - so the tales of gods and heroes acquired special solemnity and significance. For example, the kai (or hai) style, common among the Khakasses and Altaians, is intended just for the performance of epic tales.

If at present throat singing is considered a high art and one of the types of professional performance, then in ancient times it was considered a gift from above and was surrounded by many superstitions. Many peoples believed that this ability could be inherited. That is, not everyone could become a professional performer (as well as a shaman, for example). Moreover, it was believed that throat singing requires great physical exertion, exhausting the soul and body, and adversely affects the reproductive capacity of women. That is why most performers did not start families, and for women there was a direct ban on doing it. However, there were exceptions to this rule: among some African tribes, the Inuit and the Ainu, throat singing was considered precisely a woman's business.

Looking for harmony

In the modern world, throat singing is still in demand. This is both an opportunity to join the richest cultural heritage, and a way of self-knowledge and recovery. Along with traditional schools and performers (of which there are not just many, but a lot), this style is used by many musicians, often very far from shamanic and Buddhist practices. There have been repeated attempts to cross throat singing with country, jazz, electronic music. Another area in which throat singing has found its application is a variety of courses of meditation, yoga, and healing of the body. Someone considers it as a way to train breathing, a successful addition to physical exercises, someone is trying in this way to achieve enlightenment or open the way to other worlds. Be that as it may, throat singing is not just a tradition, but also an integral part of world culture.

Throat singing - a unique kind of art of sound extraction, in which the performer extracts two notes at once at the same time: the main tone and the overtone. Thus, a two-part solo is obtained. Such singing is typical for the small peoples of Siberia, Mongolia, Tibet and some other peoples of the world.

Interest in throat singing is steadily growing due to its unusualness, since it seems simply incredible that a person makes these sounds. Hearing them, you feel that you have come into contact with an archaic culture filled with mysticism. Indeed, for many it is associated with the singing of shamans. However, guttural singing is used not only by shamans in their rituals, it is also way of transmitting folk tales.

To basic styles throat singing include:

1. kargyraa (kyrkyra);
2. khoomei (kyumei);
3. sygyt (syhyt);
4. borbannadyr (Berbender);
5. ezengileer.

In addition to the main styles, there are also varieties: dumchuktar (newization), horekteer (sing with the chest), hovu kargyraazy (steppe kargyraa), chylandyk, despen borban, opei khoomei, buga khoomei, kanzyp, hovu kargyraazy, kozhagarkargyraazy, dag kargyraazy, etc. .

It is believed that the style kargyraa originated as an imitation of the voice of a camel: when a camel dies, the camel gallops, making sounds similar to kargyraa. It is used by the peoples of Tuva. It is extracted by the singer with the mouth half open.

An interesting legend of the origin of the style khoomei. The orphan youth lived for three years alone, at the foot of a rock that echoed in the surrounding valley with a many-voiced echo. As a result of the movement of air jets under high pressure, a resonance effect was formed between the rocks. One day the young man was sitting and making sounds, imitating the sounds of humming coming from the rock. The wind brought this sound to the people and they called this singing "khoomei". This is a very melodic and melodious style. Against the background of the melody in the middle register, an overtone of the main voice sounds - a melody in the upper register, which either echoes the low tone or leads its own musical theme. It is performed either with text or without it.

When singing in style sygyyt against the background of a quiet melody in the lower register, a sharp, piercing whistle (overtone) sounds. The singing of Sygyt is always carried out without words. The main sound is YO, YY or YA or YA. It is extracted by a special compressed position of the vocal cords with a half-open position of the mouth.

AT borbannadyr the reference sound is ostinato, softer and quieter than in the kargyraa style, similar in timbre to the low register of the bass clarinet. It is extracted by the same position of the vocal cords as in the kargyraa style, but with a different position of the lips, closed almost closely. It is similar to khoomei and in some areas it is called that.

Style ezengileer- according to the technique of sound production and the timbre of sounding, it is identical to the style of sygyt; it is specific only in a melodic sense. In the traditional performance of pieces of the ezengileer style on horseback, dynamic pulsation arises naturally - by pushing the rider up in the stirrup; if pieces of this style are not performed while riding, the performer causes a dynamic pulsation, imitating the rhythm of a gallop, with an artificial wave of the hand.

Throat singing is not only a style in music, but also meditation Tool, through which man is attached to the language of nature. it original musical and poetic thinking, driven by a boundless love for nature.

As for the rituals of shamans, they emitted harmonizing sound vibrations, as close as possible to the original, "healthy" frequency of the diseased organ. This is how the healing process took place. The trance state helps the shaman understand what sound the patient needs. Overtones in the voice enhance the effect, and also contribute to a change in the state of human consciousness.

Some listeners after the concert begin to feel the flow of energy within themselves, experience unusual states of consciousness, up to the exit from the body. Overtone singing evokes many positive emotions, gives rise to a desire to develop spiritually in a person.

Throat singing makes the throat more relaxed. As a result, the voice becomes deeper and more powerful in everyday life. Also, thanks to throat singing, you can get rid of various diseases of the throat, such as tonsillitis, sore throat. It helps to relieve fatigue, get rid of depression.

Throat singing, as well as just listening to it, has a positive effect on the state of mind and human health.

The art of throat phonation arose a very long time ago, at the dawn of mankind. Then it was not yet singing, as such, and served as an everyday way of communication. It was based on vowel sounds, clicks of the tongue and throat, wheezing and whistling. All this was of an imitative nature, according to the type: the river roars like that, the bird sings like that, the beast growls like that. By the nature of this or that sound, it was clear to those around what animal or natural phenomenon they were talking about. Throat (laryngeal) two-voice singing is a completely unique phenomenon not only in the world of music, but also in spiritual culture in general. Now throat singing is inherent only in some peoples of the Sayano-Altai region - Tuvans, Altaians, Mongols, as well as Bashkirs living in the European part of Russia. The uniqueness of this art lies in the fact that the performer extracts two notes at once at the same time, thus forming a kind of two-voice solo. Throat singing is composed of "a whole range of wheezing." The singer takes in as much air as his lungs can hold, and then begins rumbling wheezes from the depths of the lungs, the continuity and duration of which depends entirely on his ability to control the diaphragm.

Tuvan throat singing

According to most experts, Tuvan throat singing - khoomei - differs markedly from the similar art of the Altaians, Buryats and Mongols, primarily in a wide variety of styles. Five styles are considered the main ones - kargyraa, khoomei, sygyt, ezengileer, borbannadyr, in addition, there are several varieties - dumchuktar (newization), horekteer (sing with the chest), hovu kargyraaza (steppe kargyraa).

The origin of the term "khoomei" is interpreted in different ways. Some associate it with the name of the art of onomatopoeia, with a special manner of sound production "hooleer", which means to hum or produce a sound similar to hum, others - with the Tuvan name of the pharynx, larynx hoo, hoozu.

The Mongolian language also has the word "khoomiy", meaning throat, nasopharynx, throat singing.

The khoomei style is acoustically associated with a heavy, low, buzzing sound of extremely low frequencies. Usually, the very sound in the style of khoomei seems to be more important than the poetic text. Unlike the singing of the Mongols, the Tuvan khoomei can be performed without text, or with the text of the lullaby genre. For the Tuvan music of antiquity, this is a rather significant moment.

The Tuvan style sygyt, in all likelihood, originated from the verb sygyr - to whistle. There is a noun sygyt (whistling).

The term sygyt means lamentation, lamentation as a derivative of this word sygytchy - lamenting or moaning. This suggests a direct connection between the Tuvan style of sygyt and the funeral rite.

The name of the style ezengileer comes from the word ezengi - stirrups and, perhaps, most accurately conveys the main meaning and character of his music. When riding a horse, a silver bridle, a saddle, glued to the saddle, in contact with the stirrups, made a certain rhythmic sound. To reproduce these sounds, the rider had to occupy a certain position in the saddle and ride at an amble. The ezengileer style appeared as an imitation of these sounds.

The name of the style borbannadyr comes from the Tuvan verb "borbannat" - to roll something round. This style has rhythmic forms.

Legends and tales associated with throat singing

Legends and traditions have been preserved among the people about the origin of different types of Tuvan throat singing. So, one of the legends says that in ancient times the kargyraa style was common among camel breeders. Kargyraa arose as an imitation of the voice of a camel: when a camel dies, the camel gallops, making sounds similar to kargyraa. The term kargyraa itself has an onomatopoeic basis, denoting wheezing or sounds similar to wheezing. For example, in the modern Tuvan language there is an onomatopoeic verb kargyraar (kargyra), which means to wheeze, make hoarse sounds; boil (when boiling, for example, porridge).

There is also a Tuvan legend that an orphan boy lived for three years in solitude, at the foot of a rock, echoing in the surrounding valley with a many-voiced echo. As a result of the movement of air jets under high pressure, a resonance effect was formed between the rocks. Nature itself, as it were, contributed to the ingenuity of people in search of self-expression, when a person was left alone with the stormy elements. One day the young man was sitting and making sounds, imitating the sounds of humming coming from the rock. The wind brought this sound to the people, and they called this singing “khoomei”.

The legend “Old Man Boraldai, who has a Boca-Shokar horse” mentions: “When Boraldai looked inside the yurt, he saw a golden princess… kargyraa, khoomei, sygyt".

Mongolian throat singing

Throat singing is the result of specific guttural singing, the musical and poetic thinking of the people. Tuvans and Mongols have it due to their boundless love for nature. Therefore, the measure of all things and the source of inspiration for the ancient performers-masters was nature. The value and beauty of sound was measured by the ability to convey "living life" not only by imitation, but also by penetration into its essence.

Throat singing has long been one of the traditional forms of musical art of the Mongols and Tuvans and has been an integral part of the holidays, rituals of everyday life, has found a vivid reflection in the heroic tales and fairy tales of the people, carefully preserved and passed down from generation to generation for centuries.

Hello dear readers!

Today we will learn about such a miracle as the throat singing of the Buryats. It is unique in that the performer sings as if with two voices. Let's look at how it arose, the features of execution and teaching it.

Throat singing was originally associated with the imitation of various sounds of nature. The peoples of Siberia have always drawn inspiration from the beauty of the land around them.

The sky is night, bottomless, clear, fresh.
My ear is tuned to the melodies of the stars.
The signals of the planets, like the calls of the wapiti,
Excite the most subtle strings of the soul.
Under the throat tunes of cosmic bodies
My Earth flies, plumage of blue grief.

This is how the Buryat poetess and translator Daribazarova Tsyren-Khanda Rinchinovna describes the summer evening in the poem “Pictures of Summer”. As we can see, “throat tunes” are also mentioned here, because they are an integral part of the life of the Buryats.

emergence

These tunes arose along with the advent of mankind. A long time ago they appeared as a way of everyday communication and were expressed in a combination of drawn out vowel sounds with clicks with the tongue and throat, wheezing and whistling.

The Buryats, like other peoples of the Sayano-Altai region, imitated the splashing of water in the river, the singing and chirping of birds, the growling of wild animals with such sounds. The sound showed which natural phenomenon or animal was meant.

As the speech of primitive people developed, the hoarse or whistling sounds were no longer necessary. But the traditional idea remains that with the help of these sounds they communicate with dead ancestors and spirits. So, wheezing and whistling sounds are still present in the rituals of Buryat shamans.

The shamans passed on the art of vocals to the next generations, preserving in their songs the knowledge of the Buryat customs and way of life. Lamas also use guttural singing, reciting texts from the teachings in low tones.

Healing with throat singing

The sounds made by shamans contribute to the immersion of people into a state of altered consciousness. When the cause of a disease or a problem that worries a person is found, the shaman directly influences it with the overtones of his voice.

How does this happen? Everything in nature radiates a certain vibration. Vibrations of healthy and diseased organs are different. If the shaman directs the vibration of a "healthy" frequency to a sore spot, then the organ is cured. Overtones greatly enhance this treatment.

Additionally, the patient is exposed to informational influence. The shaman puts his intention to heal into the sounds of a voice and beats of a tambourine or the sound of another musical instrument.

Technique

Bourdon - when his ligaments close or vibrate;

Overtone - when the resonators of the head vibrate;

And the undertone - extracted by vibration of the soft tissues of his larynx.

The easiest way to learn how to play in the style of khoomei. It is characterized by a mixture of bourdon (a very low bass sound, the pitch of which, as a rule, does not change) and overtone (a whistle that produces a melody).

The pitch of the whistle is changed by the strength of the exhaled air flow. This is also aided by the movement of the tongue and the increase or decrease in the volume of the oral cavity. The more air a person can inhale, the longer his singing will be.

The press plays an important role in guttural singing. When a deep breath is taken, the air passes from the abdomen to the shoulders in a wave, the diaphragm rises, and excess pressure is created in the chest.

Types of khoomei

The word "khoomei" denotes throat (it is also called guttural) singing in general. But it is easy for an inexperienced reader to get confused, because one of the singing styles is also called the same way.

There are five varieties of such vocal performance:

• khoomei- chest singing
• sygytp- moaning whistle;
• borbannadyr- rhythmic style imitating the rolling of a round object;
• ezengileer- imitation of the rattling of a horse harness when riding;
• kargyraa- imitation of the crying of a camel for a dying cub.

How to learn throat singing

It will not be possible to comprehend the basics of such singing by following the instructions or reading information on the Internet. You need the guidance of a teacher who will control the process of sound production from the outside. As a last resort, you can learn from the video if there is no way to adopt this technique live.

At the same time, one should strive to send sound to some object located at a distance: a building, a tree, so that the voice is concentrated at one point.

To sing khoomei, the lower jaw must be relaxed. But at what angle to open it - it will be possible to determine only with the help of practice.

This is the mastery of performance and sound quality at the output: if you lower the jaw low, the throat will close, and if less than necessary, the sound will come out clamped.

When singing, you also need to monitor the position of the root of the tongue. Out of habit, lips or nose may itch, with time this will pass.

Prohibitions and rules

Although in ancient times women sang gutturally, there is evidence for this in legends, in modern life this is almost exclusively a male affair.

Women's singing is now frowned upon. The reason is simple: due to excess stress, women can lose milk. There is a belief that the hormonal background can change.

It is said that the singer Pelageya turned to Siberian shamans to learn guttural performance. She was told not to come until she was a mother.

Other prohibitions applied to men as well. For example, folk singers performing a heroic epic could not be interrupted and not finish the song.

Traditions said that magical powers would give excellent hunting for a superb performance. Otherwise, they could be severely punished.

Throat singing today

The mastery of guttural singing in Buryatia was considered lost until the last decade of the 20th century. It is recognized as more developed in Tuva, in the Altai Territory, in Mongolia.

Only in the 90s of the last century, attempts were made to restore the musical traditions of their ancestors. Gifted representatives of the Buryat people do everything to make this art live and develop.

One of them is Viktor Zhalsanov. From early childhood, he studied the Buryat rites and songs performed during them, folk tales, heroic epos.

Many masters passed on their skill of throat singing to Viktor, and the Buryats and Mongols taught him to play:

• morin-hure,
• suh-hore,
• hun hure,
• jew's harp,
• suure.

Another talented performer of the Buryat epics is Alexander Arkhincheev, who is the leader of the Shono group and its vocalist.

The group debuted in 2014 at the Sagaalgang festival. The members of the team are still in search, they have not yet decided what the style in which they work is called.

Their main goal is to preserve the authenticity of folk music and perform it in processing, including elements of blues, rock and funk.

They believe that ethno-fusion is appropriate in modern life, since not all young people are ready to listen to folk music. The main thing, according to young musicians, is to know the measure and not to distort its original sound.

The team took part in the international music festival "Voice of Nomads".

The Republican Folk Art Center of Buryatia pays a lot of attention to the development of a unique culture of guttural singing. Once every few years, a school opens with him, in which famous masters of this type of vocal from the leading countries in this matter are invited.

Training is carried out using a special system of breathing exercises. Up to twenty applicants are trained per month.

At the end of the course there is a debriefing concert. On this holiday, local residents can touch the sacred traditions of their people and listen to ethnic music.

The best graduates are invited to continue their studies in Tuva or Mongolia.

Conclusion

Throat singing can be learned at any age.

It is believed that anyone who speaks human language can learn this unique phenomenon of Asian culture.

Friends, thank you for your attention!

In this short video you can listen to throat singing: