Khöömii – Wikipéd

Singing khöömii ( mongol : ᠬᠥᠭᠡᠮᠡᠢ , VPMC : Gril , Cyrillic: Heyyy , MNS : khöömii ; Touvain: Huge , khööö ; Chinese: Huncar  ; pinyin : Hūmai ) is a throat song.

It is a diphonic song of Mongolian music based on a fundamental sound (Bourdon) produced by the larynx on which, thanks to a placement of the lips or the tongue, harmonics (up to more than forty) come to be added by forming a melody, with two voices (even three) in all ^{[ first ]} . From Altai, where they were above all used in shamanic ceremonies ^{[ 2 ]} , they are now used in time of festive. Also called chakkur , sound is an imitation of the song of birds ^{[ 2 ]} , they get closer to the sound of the Guimbarde.

The practitioners of this vocal discipline are called in Touvain, the Köömeiizhis ^{[ 3 ]} .

Khöömii is initially linked to the daily life of nomads. It was born from the imitation of natural sounds, and expresses a relationship to nature ^{[ 4 ] , [ 5 ]} .

Previously to the 1950s, this vocal technique was only performed by a few people in western rural Mongolia ^{[ 4 ]} . His practice is linked to activities such as the custody of the livestock, the evenings, and to a few domestic ceremonies such as hosting hosts. During the Soviet period during which Mongolia is a satellite territory of the USSR, this practice is one of the forgotten aspects of nomadic culture and that the authorities, or cultural institutions, do not seek to highlight. In the prevailing logic, musical professional activity is seen as a tool which is used to strengthen the unity of a people. Furthermore, “leisure must be devoted to the improvement of the individual and the strengthening of his communist ideal”. The use of such songs is therefore not a privileged cultural activity either amateur ^{[ 4 ]} . For several decades, this type of song escapes any socialist institutionalization: its practice is in “remote” provinces. And, moreover, it is music without text, and as such considered as non -carrying ideological message, and essentially having a folk value. In 1954, a Mongolian Music Composer, Dargvin Luvsansharav (in) Take note of this singular vocal technique by one of his students and integrates it into a choir for one of his shows. This is one of the rare known cases of presentation of this type of song in concert ^{[ 4 ]} , at the time. In the following decade, the 1960s, the presence of Khöömi singers in concert is more regular ^{[ 4 ]} .

Gradually, this practice takes a little more boom. Musicologists and composers like Natsagiin Jantsannorov are also interested in these elements of popular culture. From the 1990s, with the end of the Soviet Empire, Mongolia as Toula experienced a cultural opening, and their inhabitants a stronger freedom of expression. The scene becomes a breeding ground for creation in all areas: contemporary or classic music, but also jazz, rock, pop, hip-hop, or folk-rock music, dance, theater and performance. The practice of khöömii returns, with more or less happiness, in interaction with these different modes of expression, also under the impetus of artistic personalities like the sainkho namtchylak singer ^{[ 4 ] , [ 6 ] , [ 7 ]} .

This type of song has been listed as the intangible cultural heritage of UNESCO humanity since 2009 for China (Mongolia-Interior) and since 2010 for Mongolia ^{[ 4 ] , [ 8 ]} .

The two main Khömiii style style are the kharkhiraa ( they are looking or “deep khöömii”), bringing out the lower harmonic or the sub-harmonic of the lower octave and the isgeree Khöömii ( khlemii your twisty Literally “Khöömii whistled”), bringing out the upper harmonics of the fundamental. In any case, the base is made from the vibration of tense vocal cords ^{[ 2 ]} .

There are then various techniques of khöömii :

• Zatraa : without use of the language (technique to a vocal cavity).
• Bitou : with the use of the language (technique with two vocal cavities).
• Gytsy amsra : Voices of the Bas-Ventre.
• Tseedznii amsra : chest voice.
• Isgerex : Nasal flute voice.

Several ornaments are possible with various parts of the body:

• Khamryn khöömii ( Nose chases , khöömii nasal) ;
• Bagalzuuryy khöömii ( The bumps of a plot , khöömii pharyngé) ;
• Khönii Khöndi Khöömai ( chest hollowed hollow , Khöömii of the thoracic cavity);
• Khevlin khöömii ( the abdominal cavity , khöömii abdominal) ;
• hung ;
• narry’s khöömii ;
• kargyla (lung) ;
• Shara .

Khöömei is more rarely interpreted by women than by men ^{[ 6 ]} . Women using these styles are generally more discreet and prefer to sing alone in nature. Formerly people came to listen to women sing the khöömei, but the public has lost interest in this female art over time. The main styles of Khöömei practiced by women are generally, Khööömei, Sygyt and Kargyraa. Among the other famous contemporary khöömeizhi, we can cite Khunashtaar-Ool Oorzhak (Touvain: Khanoshtar-Ol oarzhak , 1932-1993) Ou Choldak-Kara Game ( Poin-black game ). The female group Tyva Kyzy is the only female Touvain group to practice all Khöömei techniques ^{[ 9 ]} . Sainkho Namtchylak, also Touvaine, has been able to renew the style by mixing with jazz and other contemporary music training and has acquired international notoriety ^{[ 6 ] , [ 7 ]} .

• Altai Khairkhan  (in) ( Hunges with Al , Mongolia);
• Altaï khangaï ( The mall with which , Mongolia);
• Altain Orgil ( mongol : ᠠᠯᠲᠠᠢᠶᠢᠨ
  ᠣᠷᠭᠢᠯ
  ᠬᠠᠮᠲᠤᠯᠢᠭ , Cyrillic: ALL Peak Point band , MNS : Altain orgil khamtlag , Mongolia);
• Althan urag ( Lanning , Mongolia);
• You Union ( mongol : ᠠᠨᠳᠠ
  ᠬᠠᠮᠲᠤᠯᠢᠭ , VPMC : you qamtulig , Cyrillic: Buddy , MNS : And Khamtlag , Hohhot, Mongolia-interior);
• Arcaiym (Kazakstan);
• Lamp (in) (Touva);
• Choduraa tumulus (thief) ( The midaa , Touva);
• Dandarvaanchig enkhjargal ( Peace of Danarwe , Mongolia);
• Darky (Russia);
• Mathias Duplessy (France, various music, world music, including a Mongolian inspiration)
• Egschiglen ( Sounds on , Mongolia);
• These ( Harry Orchestra , Hāyl yuèn , Qinghai, Mongolia-interior, France);
• Hanggai ( mongol : ᠬᠠᠩᠭᠠᠢ , Hangzhou Gai , groin , Mongolia-interior and Beijing);
• Huun-Huur-Tu ( The pitch-cheat-tu , Touva);
• Khan Bogd set (Mongolia-interior);
• Fish symbold stamp (Rap-Ethnique, Mongolia merger);
• The queue ( John , Folk-pop and Rap-Ethnique fusion, sometimes in cooperation with rapper Mongol Gee);
• Kaigal-Ool Khovalyg ( Driven Ool Khovalgy , Touva);
• Khusugtun ( A band of , Khösögton khamtlag , Mongolia);
• Albert in Vizin ( Albert Kuvezin , Touva);
• Kongar-OOL Ondar (Touvain: Kolar-Boris Oglu , Touva);
• Okna Tshan Zam (Mongolie);
• Namgar (Bouriatie) ;
• Nine Treasures ( Nine treasures , jiǔbǎo , Inner Mongolia), Mongolian folk metal;
• Paul Pena (United States / Cap-Vert, influenced by Touva), Blues;
• Perhat khaliq (zh) ( Parchiti ) of the Qeriq group ( Yogurt band ) (Uighur of Xinjiang, China, in the song Weeping jorga );
• Sainkho Namtchylak (touvain : Every-honesthearted , Saiyn-Khöö Namchylak, Touva);
• Saylyk Ommun ( Ommune , also sometimes transcribed Saylyk O’moon ) Touva?
• The Hu (Heavy-metal, Mongolie)
• Tengger Cavalry (Folk Metal, Inner Mongolia, United States)
• Tyva kyza ( Tea girl Touva);
• Ensember turan (Turan, Kazakhstan);
• YAT-KHA (Touva);

The former anthem of the Republic of Touva in the Russian Federation, ” Tooruktug Dolgay Tangdym “(Touvain: I drew up the bidder ), as well as the new one (since August 11, 2011 ), « I am always “(Touvain: I don’t have ) both include khöömeii.

Khöömii songs are interpreted by Altan Urag, in the soundtrack of the film Mongol (2007) telling the legendary life of Gengis Khan.

Bibliography [ modifier | Modifier and code ]

• Jean-Jacques Nattiez « Inuit throat games and Siberian throat songs: a comparative, historical and semiological approach (Original title: Inuit Throat – Games and Siberian Throat Singing: A Comparative, Historical, and Semiological Approach) », Ethnomusicology , vol.  XLIII, n ^O 3, 1999 , p. 399-418 ( read online )

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