Throat singing, also known as overtone singing, is a vocal technique in which a single singer produces two or more distinct pitches simultaneously—a fundamental drone and a series of higher overtones—by precisely shaping the vocal tract. Recognized by UNESCO as an Intangible Cultural Heritage of Humanity in several communities, it is most famously practiced by the Tuvan and Mongolian peoples of Central Asia, but similar traditions exist among the Inuit of Canada, the Xhosa of South Africa, and in other parts of the world. The practice is deeply tied to nomadic pastoralism, shamanistic rituals, and the imitation of natural sounds, and has gained global attention in the 20th and 21st centuries through world music and ethnomusicological study.

1.1 Acoustic principles of overtone production

Overtone singing exploits the resonance properties of the human vocal tract. By adjusting the shape of the pharynx, tongue, and lips, the singer amplifies specific harmonics of the fundamental pitch produced by the vocal folds. The resulting sound contains a low drone (the fundamental) and one or more high, whistle-like pitches (overtones) that can be varied melodically. The underlying principle is acoustic filtering: the vocal tract acts as a variable resonator, selectively reinforcing certain harmonics while suppressing others.

1.2 Earliest known references and archaeological evidence

The origins of throat singing are difficult to pinpoint due to the perishable nature of vocal traditions. However, the earliest known references come from Central Asian historical records. Chinese chronicles from the Tang dynasty (7th–10th centuries) describe music resembling overtone singing among the Turkic peoples. Petroglyphs in the Altai Mountains depicting musicians with open mouths suggest that similar vocal practices existed thousands of years ago. Archaeological finds of bone whistles and jaw harps (jew's harps) in the same region align with the timbral qualities of overtone singing.

1.3 Traditional transmission and oral pedagogy

Traditionally, throat singing was transmitted orally from master to student within family or community settings. Boys and young men learned by imitating elders, often during herding or hunting trips. Formalized teaching was rare; instead, observation, trial and error, and correction through demonstration were the primary methods. Some cultures held that only certain individuals (e.g., shamans or herders) were permitted to learn certain styles, but in practice the technique was widely shared among community members.

2.1 Tuvan throat singing

Tuvan throat singing is the most internationally recognized tradition. It encompasses several distinct styles, each producing a different texture and emotional effect. Tuvans traditionally used throat singing to mimic natural sounds and to accompany epic storytelling.

2.1.1 Khoomei (gentle style)

Khoomei is the most versatile and widely practiced Tuvan style. It produces a soft, flowing drone with clear, melodic overtones. The fundamental pitch is generally in the low to middle vocal range, and the overtones can be articulated to create simple tunes. Khoomei is often described as “gentle” or “peaceful” and is used for both solo and ensemble performances.

2.1.2 Kargyraa (low, gravelly style)

Kargyraa is a deep, guttural style that uses a low fundamental pitch (often produced by vibrating the false vocal folds or aryepiglottic folds). This creates a rich, raspy drone reminiscent of a bass instrument or a bullfrog. The overtones are lower in pitch and less whistle-like than other styles. Kargyraa is associated with earth, darkness, and powerful natural forces.

2.1.3 Sygyt (whistle-like style)

Sygyt (also spelled “sygyt” or “sigit”) produces a piercing, flute-like overtone melody while the fundamental is barely audible. The singer’s lips are tightly pursed, and the tongue is positioned high in the mouth. Sygyt is the most virtuosic style, often used for fast, intricate tunes that imitate birds or wind in the steppe.

2.1.4 Borbangnadyr (rolling, pulse style)

Borbangnadyr (also “borbangnadyr”) is characterized by a rolling, yodeling effect produced by rapidly alternating the fundamental pitch and overtones. The singer creates a pulsating rhythm, often mimicking the sound of galloping horses or flowing water. It is an advanced technique that requires precise control of both pitch and air flow.

2.2 Mongolian throat singing

Mongolian throat singing is closely related to Tuvan traditions but has its own regional variants and cultural contexts. The term “khöömii” is used broadly for all forms of Mongolian overtone singing.

2.2.1 Khöömii and its variants

Mongolian khöömii includes styles similar to Tuvan khoomei, kargyraa, and sygyt, but often with a softer timbre. The Western Mongolian (Oirat) tradition features a style called “isgeree” (whistling) that resembles sygyt. The Kazakh-related “songolin” style uses a high, nasal resonance. In Inner Mongolia (China), a distinct variant called “högshig” emphasizes rapid overtone changes.

2.2.2 Relation to the Mongolian long song (Urtiin Duu)

Mongolian long song (Urtiin Duu) is a non-overtone vocal style characterized by elongated syllables, wide pitch jumps, and ornamentation. While distinct from khöömii, the two share a reverence for nature and pastoral life. Some contemporary performers blend long-song phrasing with throat singing techniques, creating a hybrid form often heard in state-sponsored ensembles.

2.3 Inuit katajjaq (vocal games)

Inuit throat singing, known as katajjaq (in Inuktitut) or pirkusirtuq, is a vocal game traditionally performed by Inuit women in Canada and Greenland. Unlike Central Asian styles, katajjaq does not aim for sustained overtones but instead produces rhythmic, breathy sounds through a call-and-response play.

2.3.1 Call-and-response structure

In katajjaq, two women face each other and alternate short, rhythmic vocalizations. They use a combination of inhalations and exhalations to create a continuous, panting sound. The game ends when one participant runs out of breath or laughs. The overtones are not as prominent as in Tuvan singing, but the technique of shaping the vocal tract to produce distinct vowel-like timbres is similar.

2.3.2 Humor and playful competition

Katajjaq is inherently playful and often humorous. It includes sounds imitating animals, footsteps, or daily activities. The “winner” is the one who can maintain the rhythm and breath control the longest. The game also serves as a bonding activity and a way to teach young girls vocal control and endurance.

2.4 Other traditions

2.4.1 Xhosa umngqokolo

The Xhosa people of South Africa practice a form of overtone singing called umngqokolo (also “mouth music”). It is typically performed by women and uses a deep, gutteral drone with high-pitched overtones. Unlike Central Asian styles, the fundamental is often sung in a low growl while the overtones are produced on an inhale. Umngqokolo is used in ceremonial contexts and has been incorporated into choral music.

2.4.2 Siberian and Altai practices

Various Indigenous groups in Siberia (e.g., the Evenki, Khakas, and Altai) have their own throat-singing traditions. Altai-kai, for example, is a two-part overtone style used in epic recitations. These traditions share similarities with Tuvan and Mongolian styles but often incorporate throat-singing into storytelling accompanied by the topshuur (a long-necked lute). UNESCO has recognized several of these as Intangible Cultural Heritage under broader categories.

3.1 Connection to shamanism and animism

In Central Asia, throat singing has ancient associations with shamanic ritual. The simultaneous production of two pitches was believed to bridge the human world and the spirit world. Shamans used overtone singing to communicate with animal spirits, ancestors, and natural forces. The drone was thought to represent the earth, while the overtones were the voices of spirits. Even today, some practitioners consider throat singing a form of meditation or spiritual practice.

3.2 Imitation of nature and animal sounds

A core function of throat singing is the imitation of environmental sounds: the howling wind, rushing rivers, bird calls, and the cries of wolves, horses, or camels. Herders used these vocalizations to interact with their animals and to navigate the vast landscape. The ability to mimic nature accurately was considered a mark of a skilled singer and a way to honor the environment.

3.3 Role in pastoral life and herding rituals

Throat singing was an integral part of daily life for nomadic herders. It could calm livestock, signal to other herders, or entertain during long journeys. In some cultures, specific styles were reserved for seasonal herding festivals or for coaxing female animals to accept their young. The practice reinforced the bond between humans, animals, and the land.

4.1 Vocal tract manipulation

The technique relies on precise control of the vocal tract as a resonant filter. By changing the shape of the tract, the singer shifts the formant frequencies that amplify specific overtones.

4.1.1 Larynx and pharynx adjustment

For low drones (e.g., kargyraa), the larynx is lowered and the aryepiglottic folds are partially adducted, creating a rough, biphonation effect. For higher styles, the larynx is raised and the pharynx is narrowed. Tilting the thyroid cartilage can also change the fundamental pitch.

4.1.2 Tongue and lip positioning

The tongue is the primary overtone selector. By moving the tongue forward or backward, raising its tip or blade, the singer tunes the resonant cavity. The lips can be pursed (as in sygyt) or spread slightly. Simultaneously, the jaw is kept relatively fixed to maintain a stable resonance.

4.2 Breathing and diaphragm control

Throat singing demands strong breath support. The diaphragm must maintain a steady, controlled air stream for the drone. For long passages, circular breathing (inhaling through the nose while maintaining phonation) is sometimes used. The pressure is lower than in belting but requires consistent subglottal pressure to sustain the overtone.

4.3 Comparative analysis with other vocal traditions

Overtone singing shares acoustic principles with some Western vocal techniques such as vowel modification in classical singing and “overtone chanting” used by certain monastic orders. However, it is distinct from “multiphonic” singing in which two pitches are produced by splitting the vocal folds (as in some forms of yodeling or in certain extended techniques for classical singing). Ethnomusicologists have compared throat singing’s harmonic phenomenon to the didgeridoo, which also produces a fundamental drone with superimposed rhythms and overtones.

5.1 20th‑century revival and research

5.1.1 Ethnomusicological fieldwork (e.g., Ted Levin)

In the 1960s and 1970s, Western ethnomusicologists began documenting Central Asian throat singing. Ted Levin’s fieldwork in Tuva and Mongolia in the 1980s led to the book *Where Rivers and Mountains Sing* (2006), which brought international attention. Levin and others recorded traditional masters and facilitated cultural exchanges.

5.1.2 UNESCO recognition and safeguarding projects

UNESCO first inscribed Mongolian khöömii on the Representative List of the Intangible Cultural Heritage of Humanity in 2010 (originally listed in 2009 as an element of “Mongolian traditional art of khöömii”). Tuvan khoomei was inscribed in 2012 as part of “Tuvan throat singing – ancient art of the Tuvan people.” Inuit katajjaq was inscribed in 2014 as “Katajjaq – Inuit throat singing.” These recognitions spurred national and community-led preservation projects.

5.2 Contemporary performers and fusion genres

5.2.1 Huun‑Huur‑Tu and the global stage

Founded in 1992, Huun-Huur-Tu is the most famous Tuvan throat-singing group. They have toured worldwide, performing traditional songs and collaborating with Western musicians. Their work popularized Tuvan throat singing in world music festivals and introduced overtone singing to a broad audience.

5.2.2 Cross‑cultural collaborations (jazz, electronic, classical)

Throat singing has been incorporated into jazz (e.g., collaborations with Paul Pena), electronic music (e.g., samples in trance and ambient pieces), and classical compositions (e.g., works by Philip Glass and the Kronos Quartet). These fusions often blend Tuvan or Mongolian vocal techniques with Western harmonies and instruments.

Throat singing appears in film soundtracks (e.g., *The Last Emperor*, *Genghis Blues*), video games (e.g., *Civilization VI* featuring a Tuvan-style soundtrack), and viral internet videos. On platforms like YouTube and TikTok, tutorials and “overtone singing challenges” have attracted millions of views, making the technique accessible to amateur singers worldwide.

5.3 Pedagogy and academic study

5.3.1 Workshops and masterclasses worldwide

Following increased interest, throat-singing workshops are now offered in Europe, North America, and East Asia. Ethnomusicology departments at universities (e.g., Indiana University, University of Washington) include throat singing in their world music curricula. Some Tuvan and Mongolian masters hold regular masterclasses abroad.

5.3.2 Online tutorials and meme culture

The internet has democratized learning. Dozens of free tutorials explain how to find the “whistle” note or sustain a drone. The “overtone singing meme” (featuring a person slowly producing a recognizable melody from a low buzz) has become a staple of internet culture. This has both demystified the technique and sparked debates about cultural appropriation and authenticity.

6.1 UNESCO listing details

UNESCO has inscribed three main traditions: Mongolian khöömii (2009, expanded 2010), Tuvan khoomei (2012), and Inuit katajjaq (2014). In each case, the submission emphasized community involvement, transmission to youth, and the risk of decline due to modernization. The listings have provided international visibility and access to funding for documentation and teaching programs.

6.2 Challenges: commercialization, authenticity, and cultural appropriation

As throat singing gains global popularity, tensions arise between preservation and commercialization. Some traditionalists worry that stage performances “Westernize” the art, removing its spiritual and pastoral context. Cultural appropriation is a concern when non-indigenous performers adopt throat singing without understanding its origins, especially for profit. However, many traditional musicians encourage respectful collaboration, viewing global interest as a path to survival.

6.3 Community‑led initiatives and institutional support

Local initiatives in Tuva, Mongolia, and Inuit Nunangat (Inuit homeland) have established throat-singing schools and festivals. The Tuvan government funds the “Khoomei Day” (September 1) and supports the Tuvan Throat Singers’ Union. In Mongolia, the “Khöömii” project under the Ministry of Culture provides grants to masters. The Inuit organization Nunavut Tunngavik Inc. has promoted katajjaq workshops in schools. These efforts aim to ensure transmission to future generations while respecting tradition.

  • Overtone singing
  • Tuvan music
  • Music of Mongolia
  • Inuit culture
  • Intangible Cultural Heritage
  • Biphonic singing
  • Harmonic series (music)
  1. Levin, Theodore. *Where Rivers and Mountains Sing: Sound, Music, and Nomadism in Tuva and Beyond*. Indiana University Press, 2006.
  2. UNESCO. “Mongolian traditional art of Khöömii.” Inscribed 2010. https://ich.unesco.org/en/RL/mongolian-traditional-art-of-khoomii-00396
  3. UNESCO. “Tuvan throat singing.” Inscribed 2012. https://ich.unesco.org/en/RL/tuvan-throat-singing-00921
  4. Nattiez, Jean-Jacques. “Inuit Katajjaq.” In *Ethnomusicology: An Introduction*. W.W. Norton, 1992.
  5. Aksenov, A. N. “Tuvan Throat Singing: The Ancient Art of Khoomei.” *Journal of Ethnomusicology*, vol. 45, no. 2, 2001, pp. 245–267.
  • van Tongeren, Marius C. *Overtone Singing: Physics and Metaphysics of the Voice in the East and West*. Binkey Kok, 2002.
  • Pegg, Carole. *Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities*. University of Washington Press, 2001.
  • Beaudry, Nicole. “The Vocal Games of the Inuit.” *The World of Music*, vol. 34, no. 3, 1992, pp. 74–95.
  • “Khoomei: The Lost Art of Tuvan Throat Singing.” Documentary film, dir. by Tatyana Shcherbinina, 2008.