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3КРОСС-КУЛЬТУРНЫЕ И ЛИНГВИСТИЧЕСКИЕ АСПЕКТЫ ХООМЕЕВЕДЕНИЯ
УДК 534.321.4+784
DOI: 10.24412/3034-1418-2024-1-15-26
ORCID: 0009-0006-0065-9958
Drone-Overtone Vocal Music as Intangible Cultural Heritage: Ways of Being (Ontology) of Nomadic Altai-Sayan Peoples or National and Global Commodity?
Carole Pegg1
University of Cambridge, Great Britain
Abstract. After considering the early musical perceptions of international researchers and difficulties in their descriptions and translations of Tuvan khoomei and Mongolian khoomii, this article compares two seemingly opposed perspectives on drone-overtone vocal music: that it is a musical and sound complex rooted in the ways of being of nomadic Altai-Sayan peoples, called here "ontological musicality and sonicahty,” or a national and global commodity that can be appreciated and disseminated solely because of its musically technical brilliance. Based on anthropological fieldwork, it describes the interrelations of local ways of being involving performative bodies and body music, nomadic movements, local and transborder landscapes, and animist-shamanic practices. It then outlines two international musical arenas: the "world music” arena in which Inner Asian professional drone-overtone performers carry with them their musical and spiritual cultures, and the Intangible Cultural Heritage arena that attributes the ownership of musical genres to states and nations. Finally, it points to the importance of traditional value systems and allowing the voices of heri- 1
1
Author's Details. Carole Pegg is a senior researcher and anthropologist of music at the University of Cambridge, affiliated to the Mongolia and Inner Asia Studies Unit, and specializing in Inner Asian nomadic peoples. She has served as Chairperson of the British Forum for Ethnomusicology, founding co-editor of the British Journal of Ethnomusicology (now Ethnomusicology Forum), and Ethnomusicology Editor of the revised New Grove Dictionary of Music and Musicians. She has delivered papers and lecture series (on Inner Asian music, performance, and cultural heritage) in China, Inner Mongolia, Mongolia, Russia, the UK, and the US. As director of the Inner Asian Music agency, she has toured and performed with musicians (from Mongolia and the Altai, Khakassia, and Tuva republics) in the UK and Hong Kong. As musician and director of the Goshawk project, she recorded and produced compact discs of Khakas and Tuvan musicians (Charkov and Charkova, 2005D; Tulush, 2007D) and one of her own English fiddle-singing with the instrumental sounds, singing and drone-overtone vocal music of Tuvan master musician Radik Tulush (Pegg and Tulush, 2014D).
tage bearers to be heard in the face of powerful global flows and “modernity” of the contemporary world.
Keywords: Altai-Sayan, drone-overtone vocal music, drone-partials vocal music, body-music, ontological musicality and sonicality, nomadism, musical landscapes, UNESCO.
For citation: Pegg, Carole (2024). Drone-overtone vocal music as intangible cultural heritage: ways of being (ontology) of nomadic Altai-Sayan peoples or national and global commodity? In Khoomei and Cultural Heritage of the Peoples of Central Asia, no. 1(1), рр. 15-26.
Гудяще-обертонная вокальная музыка как нематериальное культурное наследие: способы бытия (онтология) кочевых Саяно-Алтайских народов или национальный и глобальный товар?
Кэрол Пэгг
Кембриджский университет, Великобритания
Аннотация. После рассмотрения ранних музыкальных представлений международных исследователей, а также их трудностей в описании и переводе понятий тувинский хөөмей и монгольский хөөмий, в данной статье сравниваются два, казалось бы, противоположных взгляда на гудящую вокальную музыку: это музыкально-звуковой комплекс, укоренённый в способах существования кочевых саяно-алтайских народов, названный в данном контексте онтологической музыкальностью и звучностью, или национальным и глобальным товаром, который может быть оценен и распространен исключительно благодаря своему музыкально-техническому великолепию. Основываясь на полевых антропологических исследованиях, автор описывает взаимосвязь локальных способов существования с участием перформативных тел и корпоромузыки, кочевнических движений, местных и трансграничных ландшафтов и анимистско-шаманских практик. Затем в нем очерчиваются две международные музыкальные арены: та мировая музыка, в которой профессиональные исполнители гудящего обертона из Внутренней Азии несут с собой свою музыкальную и духовную культуру; и другая, которая приписывает право собственности на музыкальные жанры государствам и нациям в своей программе нематериального культурного наследия. Наконец, это указывает на важность традиционных систем ценностей и позволяет голосам носителей наследия быть услышанными перед лицом мощных глобальных потоков и современности нынешнего мира.
Ключевые слова: Алтае-Саянский, гудяще-обертонная вокальная музыка, частичногудящая вокальная музыка, корпоромузыка, онтологические музыкальность и звучность, кочевничество, музыкальные ландшафты, ЮНЕСКО.
Для цитирования: Пэгг К. Гудяще-обертонная вокальная музыка как нематериальное культурное наследие: способы бытия (онтология) кочевых Саяно-Алтайских народов или национальный и глобальный товар? // Хоомей и культурное наследие народов Центральной Азии. 2024. № 1(1), С. 15-26. (in English)
Introduction
Research on Tuvan khoomei and Mongolian khoomii has developed over the last century as Indigenous researchers have published more widely and international ones come to listen more clearly. Here, I evaluate some of those progressions. Based on my own extensive social anthropological fieldwork, I argue that drone-overtone vocal music does not stand alone but rather is part of a complex involving perceptions of body, landscape and spiritual interactions by peoples who have historically nomadized in the crossborder Altai-Sayan mountain-steppe region. In a global world, with powerful institutions that promote national and state ownership of Intangible Cultural Heritage, I suggest that the ontological musicality and sonicality of these Indigenous peoples should be heard and valued.
A Note on Early Research Research
It was through the recordings and writings of non-Indigenous researchers that the sounds of Tuvan khoomei and Mongolian khoomii (hereafter referred to as khoomei-khoomii) reached the West. These early researchers used their own musical perceptions and limitations to translate sounds that were alien to the Western ear. In English, these include “chant” (Vargyas, 1968), “biphonic singing” (Tran and Guillou, 1980), “solo duet” (Chernov & Maslov, 1979), and'jaw's harp voice” (Gunji, 1978). French terms include “chant biphonique (Tran and Guillou, 1980),” “chant diphonique” (Tran, 1984), voix de-doublee and voix guimbarde (Hamayon and Helffer, 1973). The English terms “overtonesinging” (Walcott, 1974; Pegg, 1992, 2001a, 2001b; van Tongeren, 1995, 2002) and “throat-singing” (Alekseev, Kyrgys and Levin, 1990D, Levin with Suzukei, 2006) have now become widespread in academic and popular contexts.
As research developed and people began to listen to the sounds more carefully, even these most recent terms have become unsatisfactory. For instance, “overtone-singing,” has been broadened to include sounds unrelated to the ontological musicality of Altai-Sayan peoples, as in South African umngqookolo performed by Xhosa women and girls (Dargie, 1991: 33). And is it “singing” as in “overtone-singing” and “throat-singing” or the “wordless singing” used by Russian natural scientist Grigorii Grumm-Grzhimailo's for the sounds he encountered in Uriangkhaiskii Krai (now the Republic of Tuva) in the late 19th century (Grumm-Grzhimailo, 1926: 107-108).
Use of “overtones,” I suggest, remains relevant for those khoomei-khoomii styles that concentrate on separating overtones from a drone and forming melodies from them. However, other styles (such as Tuvan kargyraa) include undertones or focus instead on thick timbral sounds. Therefore, following Valentina Suzukei's stress on the drone's importance in Tuvan timbral music including the khoomei genre (Levin with Suzukei, 2006), and my own fieldwork experiences, I prefer the translation “drone-overtone vocal music” for those styles that clearly separate overtones from the drone. I use “drone-par-tials music” to refer to the thick timbral sounds encountered in non-melodic khoomei-khoomii styles as well as among epic performers of the republics of Altai (kai) and Khakassia (khai) and the Altai Uriangkhai of West Mongolian Altai (khailakh). Drone-partials music allows for the presence of undertones as well as overtones (Pegg, 2024).
Let us now consider the relation of drone-overtone and drone partials vocal music to local ways of being.
I. Ontological Musicality and Sonicality
Ontology, a branch of philosophy that investigates the existence of individual human beings in society and the universe, concerns relations. Here the important relation is with music (ontological musicality) and sound (ontological sonicality) (Pegg, 2014: 22). This includes the following contextual inter-relations.
a. Performative Bodies and Body Music
The performative body is the primary context since this is the place from which Tuvan khoomei and Mongolian khoomii are produced. But from which parts of thr body? Five of the seven Mongolian khoomii styles I recorded from Western Khalkha Tserendavaa in England (1987) and in Mongolian Altai (1989) were named after parts of the body: labial (uruulyn), palatal (tagnain), nasal (khamryn), glottal, throat (bagalzuuryn, khooloin), and chest cavity, stomach (tseejiin khondun, khevliin). Bait Mongols also referred to a "root of the tongue” style (khelnii ug) (Pegg, 2001 a: 62-63). Tuvan styles are more often named after environmental sounds, such as borbangnadyr ("rolling,” evoking a brook's gurgling sounds), ezengileer (imitating a rider's boots clicking in stirrups), kargyraa (an onomatopoeic term for natural roaring sounds, including water) and kanzyp (a wolfs cry). Russian ethnographer and composer A. V. Anokhin described all Tuvan khoomei styles and those of Altaian, Khakas, Bashkir, and Mongolian people as gorlovoe penie ("song of the throat”) (Kyrgys, 2008: 13-14; Kyrgys, 2013: 43; Vainshtein, 1979: 71), thereby connecting it to a single body part. The English translation "throat-singing,” taken from early Russian perceptions of this music, has become a generic term for multiple styles of timbral vocal music and spread during the second half of the 2 0th century to other parts of the world.
Mongolia's "throat-singing” was introduced to the West by the recordings of Hungarian Lajos Vargyas's in 1967, French anthropologist Roberte Hamayon in 1973, and American-born ethnomusicologist Jean Jenkins in 1977. In 1987, the term was popularised by American ethnomusicologist Ted Levin in the booklet of his Tuvan field recordings expedition with Eduard Alekseev (Chairman of the Moscow All-Union Folklore Commission) and Zoya Kyrgys (Head of Music, Tuvan Institute of Language, Literature and History in Kyzyl) (Alekseev, Kyrgys and Levin, 1990D). It gained further traction after publication of the influential Where Rivers and Mountains Sing (Levin with Suzukei 2006) and the international tours of Tuvan and Mongolian musicians. It was also picked up by Japanese researchers during conferences on computer music (Sakakibara and others, 2002a) and acoustics (Sakakibara and others, 2002b).
A translation of khoomei-khoomii that assumes the throat as centre of production is, of course, inaccurate. Recognizing this, Tuvan ethnomusicologist Zoya Kyrgys pointed out that the sounds are produced by deep chest breathing and introduced the Tuvan term khorekteer (to use the chest) or khorek-bile yrlaar (to sing with one's chest) (Kyrgys, 2008: 83-84). Stressing the importance of breathing regulation and techniques, Kyrgys classified them into three types - from the abdomen, chest, or diaphragm - depending on the style (Kyrgys, 2013: 47-54). Russian ethnographer in exile, E.K. Yakovlev, who visited Western and Central Tuva in 1898, had similarly noted that the “strange rumbling husky sounds” of khoomei were produced from “deep within the entrails” (Kyrgys, 2008: 12).
In my recent work, I suggest that when a vocalist plays with the sounds of a sustained rich timbral cluster (a “drone”) by selecting certain tones (“partials”), producing a simultaneous melody, or changing its textures, the body becomes a multiphonic instrument or even a musical ensemble, tuned differently according to style (Pegg, 2024: 3840). When singing, the ear is used to tune single musical pitches to others in a melodic phrase, or to accompany vocalists or instruments. By contrast, the ear is used in timbral body-music to tune, blend, or separate the voices of the body-instrument (Pegg 2021b: 178-183). According to Tuvan shamans, the inner organs of humans are attuned to certain tones and the whole body is a sensitive musical instrument that resonates with the surrounding sound field (Kyrgys 2013: 64). I add that in the Altai-Sayan region, sonically embedded senses of self and traditional human-spirit actor relations of personhood are animated by this tuned body-instrument as it sounds its music. Khoomei-khoomii could, therefore, be referred to as “body music” (Pegg, 2021b: 181; Pegg, 2024: 25).
b. Nomadic Movements
The nomadic peoples from which this music sprang existed in a mountain-steppe environment and continued to migrate in different historical and political periods (Pegg, 2021a: 18-20). Even though settled under communism, the concepts of journeying and pathways occur frequently among peoples of the Altai-Mountain and Altai-Sayan region and, no longer nomadizing in the traditional sense, professional musicians still maintain close links with their nomadic and semi-nomadic family and ancestors.
c. Musical Landscapes:
Local. It has been well established that Tuvan khoomei draws inspiration from local acoustic environments, primarily nature (Levin with Suzukei 2006) but also from shapes within landscape, such as dag (mountain) and khovu (steppe) kargyraa. It was during fieldwork in 1987 in Inner Mongolia that I first encountered a relationship between musical sounds and the contours of local landscape. Those living in the central grasslands of Xilingol told how they performed gentle flowing melodies, while those living amid the steep sand dunes of the south-west Ordos region were described as more angular. In 1989, the herders of Mongolian Altai described how the melodies of those living close to a mountain top progressed downwards and of those living at its base progressed upwards (Pegg, 2001a: 105-107). Khoomii’s myth of origin in Mongolian Altai also connects to the local landscape. I was told that Mount Jargalant produces droning sounds as it holds the wind. Then, releasing it into the steppes below, the mountain communicates with Lake Khar Uus Nuur (on the eastern side of Chandman' district) as the lake digests and swallows it. Everything beneath that drone flourishes and the herders reproduce the sounds as khoomii (Pegg, 1992: 38).
During my Mongolian fieldwork (1989-1996), over the cusp of the peaceful collapse of communism, local peoples gradually began to talk of animist, shamanic and Buddhist practices. Although drone-overtone vocal music is used by some Buddhist orders (Smith and Stevens, 1967), the post-communist reclamation of animism and shamanism has more relevance for drone-overtone music. Since everything has its own spirit-owner (Alt., Kh. Tuv. ee, Mo. ezen), and therefore its own subjectivity, agency and emotion, human-spirit relations have once again become essential to contemporary life. Social relations occur between humans and the spirit-owners of all things, including animals, birds, insects, trees, plants, land, mountains, rocks, stones, the elements (water, fire, air/wind), musical creations and musical instruments. The relation between drone-overtone music and local landscape is once again part of local ways of being.
Transborder: I distinguished two transborder musical landscapes in which affiliations were performed in musical styles and genres during my Mongolian fieldwork. The drones and tones of khodmii, heroic epics (tuul'), horse-hair fiddle (ikil) and end-blown flute (shoor) of Oirat peoples living in West Mongolian Altai connected northwards with peoples in the Altai and Tuvan Republics in Russian Altai and southwards with those in Chinese Altai, all of which had been part of the Jungar Khanate (1630-late 1750s). The Eastern Khalkha Mongols, by contrast, performed extended long-songs (aizam urtyn duu), narrative tales (bengsen-u uliger), and played horse-head fiddle (morin huur) and side-blown flute (limbe) that connected with Buryats across their northern border and the Mongols of Inner Mongolia in the south (Pegg, 2001a: 11-15). That connection between a drone-overtone musical complex of peoples of Mongolian Altai with those of Russian Altai, confirmed by my research in the Altai, Khakassia and Tuva republics, supports the argument that the heritage of drone-overtone vocal and timbre-centered music lies not with a single nation or with steppe peoples (Vainshtein, 1979) but rather is shared with the Indigenous nomadic peoples of the Altai-Sayan mountain-steppe region of Inner Asia (Pegg, 2012, 2021a). (See Lattimore, 1988 and Pegg, 2024: 277 endnote 3 for definitions of “Inner Asia”). These peoples, who nomadized across and along the Altai and Sayan mountain ranges in different historical periods, are currently divided by the political borders of Russia, Mongolia, and China. The magnificent rocky-ridged Altai Mountain range, with its snowfields and glaciers, high mountain-steppes and lakes, deep-cult valleys and virgin rivers travels from southern Siberia in the Russian Federation south-ward through Western Mongolia, taking in small areas of eastern Kazakhstan and the Xinjiang Uighur Autonomous Region of northwest China before merging into the Gobi Altai range in south-west Mongolia. The Sayan Mountains, divided into Western and Eastern ranges, extend eastward from the Altai Mountain range to Lake Baikal in Buryatia. The horizontal drones and vertical tones that emerge in drone-overtone vocal music echo this mountain-steppe landscape of the Altai-Sayan and greater Altai Mountain region of Inner Asia while also sharing that region's core spiritual complexes of shamanism, animism, and Buddhism (Pegg 2001a, 2009). This contrasts with the musical landscape of Central Asia (Tadjikistan, Uzbekistan, Afghanistan, Turkmenistan, Uzbekistan), where the Muslim spiritual complex influences its maqam classical musical sounds.
II. International Arenas
a. Global Nomadic Musicians
In the post-Soviet world, a global music arena has developed in which Inner Asian musicians, promoters, researchers, music, and audio-visual recordings circulate. A different form of nomadism, then, from the Indigenous peoples that travelled across political borders in mountain-steppe landscapes that inspired their rich musical complex of drones, tones, and timbres. Professional musicians who now travel globally carry with them a “nomadic sensibility” (Beahrs, 2014), a quality embracing nomadic movement and spirit, that attracts organizers of international music festivals, tours, and concerts (for instance, France's Nomadic Spirit Festival, Johanni Curtet's NGO Routes Nomades, Morocco's annual Nomads Festival, and Kazakhstan's Nomad Way Festival). Musical collaborations between professional musicians, promoters and researchers have also raised the global profile of Tuvan and Mongolian Indigenous peoples, spirituality, and nomadism (e.g., Ondar and Pena, 1996D; Batsukh Dorj and Curtet, 2023D; Pegg and Tulush, 2014D). By contrast, the international United Nations Educational, Scientific and Cultural Organization (UNESCO), as its title suggests, attributes the ownership of musical genres to states and nations in its Intangible Cultural Heritage programme.
a. UNESCO, State and Nation
UNESCO creates digitized Intangible Cultural Heritage lists that are circulated in global space. Inclusion in these lists has both benefits and disadvantages. Benefits include the potential for international prestige, access to funding, and increased international attention for musicians and their music that opens useful networks. However, inclusion in the lists relies on state ratification of certain Conventions, followed by a government-initiated selection and nomination process. This itemization de-contextualizes the practices from local social relations and re-contextualizes them as individual objects in national inventories. Because these digitized objects of Intangible Cultural Heritage are attached to nation-states, they are open to strategies of nation-building. Governments may promote their own nationality policies on a global stage, endorsed by UNESCO. This denies Indigenous and minority peoples, for instance, those of the Altai, Khakassia and Tuvan republics, a direct application pathway (Pegg, 2012).
When UNESCO moved from the post-World War II safeguarding of Cultural Heritage (objects) to its Proclamation of Masterpieces of Oral and Intangible Heritage (embodied in people) during the Intangible Heritage Convention of 2003, it dangled the possibility of raising the global visibility, profiles, and value of traditional musics, as well as spiritual practices and knowledge. However, while applications to UNESCO remain state-driven, Indigenous, and other minority peoples remain vulnerable to omission or misrepresentation. This became particularly evident in 2009 when uproar followed China's registration of the Mongolian “art of throat-singing” with UNESCO as Chinese rather than Mongolian heritage because of Inner Mongolia's location within China (Pegg, 2012; Curtet, 2021). I have spoken and written elsewhere about the disjunction between nomadic musical landscapes, state management of Indigenous peoples and the global flows of international institutions such as UNESCO (Pegg, 2012, 2021a). Here I suggest that the objectification of khoomei and khoomii by UNESCO transforms it into a global technical commodity by processes of de-contextualization and re-contextualization. This suits nonlocal musicians who, excited by the technical vocal brilliance of different styles, learn them by listening to professional or fieldwork musical recordings on compact disc or the internet and occasionally by travelling to study with local professional musicians. These non-local musicians often then perform and teach drone-overtone vocal and instrumental to others in their homelands or via the internet.
Conclusion
The disjuncture between the two perspectives outlined above is complex and contested, particularly as it involves issues of identity (individual, local, national, community, global), ownership rights, and struggles between traditional and contemporary life. Both perspectives on khddmei-khdomii have strengths and weaknesses. However, while the technical brilliance of the drone-overtone and drone-partials music is rightly acknowledged worldwide, I have tried to demonstrate that its place within the musical Altai-Sayan mountain-steppe region of Inner Asia and the ontological musical, sonic, ancestral, and contemporary voices of its nomadic heritage bearers should be valued and allowed to ring at least as clearly as those of powerful international, state, and national institutions.
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Vainshtein, Sev'yan (1979). A Musical Phenomenon Born in the Steppes, In Soviet Anthropology and Archaeology, V. 18, Is. 3, pp. 68-81. (in English)
van Tongeren, Mark C. (1995). A Tuvan Perspective on Throat Singing, In Oideion: The Performing Arts Worldwide, no. 2, pp. 293-312. (in English)
van Tongeren, Mark C. (2023). Overtone Singing: Physics and Metaphysics of Harmonics in East and West, 3d ed., Terra Nova Press, Newark, 352 p. (in English)
Vargyas, Lajos (1968). Performing Styles in Mongolian Chant, In Journal of the International Folk Music Council, V. XX, pp. 70-72. (in English)
Walcott, Ronald (1974). The Choomij of Mongolia: A Spectral Analysis of Overtone Singing, In Selected Reports in Ethnomusicology, no. 2 (1), pp. 55-60. (in English)
Discography:
Alekseev, Eduard, Zoya Kyrgys, and Theodore Levin. 1990. Tuva: Voices from the Center of Asia. Smithsonian Folkways SF CD 40017. Compact disc.
Batsukh, Dorj and Johanni Curtet. 2023. Ogbelerim (Music for my Ancestors), Buda 860388. Compact
disc.
Charkov, Sergei, and Julia Charkova. 2005. Khyrkhaas: Songs of our Elders. Recordings and booklet by Carole Pegg. 7-Star Records SSCD50.
Ondar, Kongar-ool, and Paul "Earthquake” Pena. 1996. Genghis Blues: Music from the Motion Picture. Six Degrees Records. Compact disc.
Pegg, Carole, and Radik Tulush. 2014. Goshawk. Recordings and booklet by Carole Pegg. 7-Star Records SSCD52. Compact disc. Carolepegg.bandcamp.com/album/goshawk.
Tulush, Radik. 2007. Tyva: Spirits of My Land. Recordings and booklet by Carole Pegg. 7-Star Records SSCD51.
Литература:
Грумм-Гржимайло Г.Е. Западная Монголия и Урянхайский край. Т.3. Вып. 1. Л.: Тип. гл. бот. сада, 1926. 412 с.
Beahrs, Robert O. Post-Soviet Tuvan Throat-Singing (Xoomei) and the Circulation of Nomadic Sensibility: PhD diss. University of California, Berkeley, 2014. 194 р.
Chernov, B. P. & Maslov, V. T. The Secret of a Solo Duet // Soviet Archaeology and Anthropology. V.18, 1979, Is.3. P.82-86.
Curtet, Johanni. Khoomii, World Lists, and the Question of Representation // Asian Music. 2021. № 52 (2). Р.108-38.
Dargie, David. Umngqokolo: Xhosa Overtone Singing and the Song Nondel'ekhaya / / African Music. 1991. № 7. Р.33- 47.
Gungi, Sumi. An Acoustical Consideration of Xoomij // Musical Voices of Asia: Report of Asian Traditional Performing Arts Conference, 1978, The Japan Foundation. Tokyo: Heibonsha Ltd, 1980. P.135-141.
Hamayon, Roberte and Helffer, Mireille. A propos de 'musique populaire mongole': enrigistrements of La-jos Vargyas // Etudes Mongoles. 1973. №4. Р.145-180.
Kyrgys, Zoya K. The Mystery of Tuvan Khoomei (Throat Singing) / Trans. & ed. by B. Donahoe. Kyzyl: International Scientific Centre "Khoomei”, 2013. 100 p.
Kyrgys, Zoya K. Tuvan Throat-singing: Ethnomusicological investigation / Ed. by I.V. Matsievski; translated by K. Khlynov. Kyzyl, 2008. 160 p.
Lattimore, Owen. Inner Asian Frontiers of China. 2nd ed. Oxford: Oxford University Press, 1988. 586 p.
Levin, Theodore, with Suzukei, Valentina. Where Rivers and Mountains Sing: Sound, Music and Nomadism in Tuva and Beyond. Bloomington: Indiana University Press, 2006. 312 p.
Pegg, Carole. Inner Asia / / The New Grove Dictionary of Music and Musicians, 2nd ed. / Ed. by Stanley Sadie and John Tyrrell. London, 2001. URL: https://doiorg.ezp.lib.cam.ac.uk/10.1093/gmo/9781561592630. article.05283
Pegg, Carole. Mongolian Music, Dance and Oral Narrative: Performing Diverse Identities. Seattle and London: University of Washington Press, 2001. 376 p. (with CD)
Pegg, Carole. Overtone-singing [throat-singing, chant biphonique, chant diphonique, hoomii] // Grove Music Online. Oxford Music Online. Oxford: Oxford University Press, 2001. URL: https://doi.org/10.1093/gmo /9781561592 630. article.4984
Pegg, Carole. Cradle of Drone-Overtone and Timbre-Centered Music: Cultural Landscapes of the Indigenous Peoples of the Altai Mountain Range and its Neighboring Areas // Asian Music. 2021. № 52 (2). Special issue on the Transregional Politics of Throat-Singing as Cultural Heritage in Inner and Central Asia. Р.11-45.
Pegg, Carole. Performative Bodies: Overtoning Self and Personhood among Nomadic Musicians and Shamans of the Altai-Sayan Mountains of southern Siberia // Music, Dance, Anthropology / Ed. by Stephen Cottrell. Canon Pyon: Sean Kingston Publishing, 2021. P.167-193.
Pegg, Carole. Drones, Tones, and Timbres: Sounding Place among Nomads of the Inner Asian Mountain-Steppes. Urbana, Chicago and Springfield: University of Illinois Press, 2024. 360 р. Электронная книга доступна на сайте издательства Университета Иллинойса.
Pegg, Carole. Mongolian Conceptions of Overtone Singing (xoomii) // British Journal for Ethnomusicolo-gy. 1992. № 1. P.31-54.
Pegg, Carole. Nomads, States and Musical Landscapes: Some Dilemmas of Khoomii as International Cultural Heritage: Paper presented at the Musical Geographies of Central Asia Conference, School of Oriental and African Studies. University of London, 2012, May 16. URL: Akdn.org/akmi/musical-geographies-central-asia/carole-pegg
Sakakibara, Ken-Ichi, Hiroshi Imagawa, Seiji Niimi, and Naotoshi Osaka. Synthesis of the Laryngeal Source of Throat Singing using a 2x2-mass Model // International Computer Music Association. Proc. of ICMC, Sep. 2002. P.5-8. URL: https://hdl.handle.net/2027/spo.66p2372.2002.002
Sakakibara, Ken-Ichi, Tomoko Konishi, Emi Z Murano, Hiroshi Imagawa, Masano bu Kumada, Kazumasa Kondo, and Seiji Niimi. Observation of the laryngeal movements for throat singing - Vibration of two pairs of folds in human larynx: Lay Language Paper for First Pan-American/Iberian Meeting on Acoustics in Cancun, December 3, 2002. URL: https://web.archive.org/web/20071008114111/, http://www.acoustics.org/press /144th/Sakakibara.htm
Smith, Houston and Stevens, Kenneth N. Unique Vocal Abilities of Certain Tibetan lamas / / American Anthropologist. 1967. № 69 (2). Р.209-212.
Tran Quang Hai and Guillou, D. Original Research and Acoustical Analysis in connection with the Xoomij Style of Biphonic Singing / / Musical Voices of Asia. Report on Asian Traditional Performing Arts 1978 / Em-mert, Richard; Minegishi, Yuki; Kokusai Koryu Kikin. Tokyo: Japan Foundation: Heibonsha, 1980. P.162-173.
Tran Quang Hai. Le chant diphonique: A propos du chant Xoomij // Cahiers de l'animation musicale. 1984. № 31. Р. 67-69.
Vainshtein, Sev'yan I. A Musical Phenomenon Born in the Steppes / / Soviet Anthropology and Archaeology. V.18, 1979, Is.3. P.68-81.
van Tongeren, Mark C. A Tuvan Perspective on Throat Singing // Oideion: The Performing Arts Worldwide. 1995. № 2. Р.293-312.
van Tongeren, Mark C. Overtone Singing: Physics and Metaphysics of Harmonics in East and West. 3d ed. Newark: Terra Nova Press, 2023. 352 p.
Vargyas, Lajos. Performing Styles in Mongolian Chant // Journal of the International Folk Music Council. 1968. V.XX. P.70-72.
Walcott, Ronald. The Choomij of Mongolia: A Spectral Analysis of Overtone Singing // Selected Reports in Ethnomusicology. 1974. №2 (1). Р.55-60.
Дискография:
Alekseev, Eduard, Zoya Kyrgys, and Theodore Levin (1990). Tuva: Voices from the Center of Asia: Compact disc. Smithsonian Folkways SF CD 40017.
Batsukh, Dorj and Johanni Curtet (2023). Ogbelerim (Music for my Ancestors): Compact disc. Buda 860388.
Charkov, Sergei, and Julia Charkova (2005). Khyrkhaas: Songs of our Elders. Recordings and booklet by Carole Pegg. 7-Star Records SSCD50.
Ondar, Kongar-ool, and Paul "Earthquake” Pena (1996). Genghis Blues: Music from the Motion Picture: Compact disc. Six Degrees Records.
Pegg, Carole, and Radik Tulush (2014). Goshawk: Compact disc. Recordings and booklet by Carole Pegg. 7-Star Records SSCD52. Carolepegg.bandcamp.com/album/goshawk.
Tulush, Radik (2007). Tyva: Spirits of My Land. Recordings and booklet by Carole Pegg. 7-Star Records SSCD51.
About the author
Carole Pegg - Ph.D., Senior Researcher, University of Cambridge, Cambridge, Great Britain. E-mail: capegg59@gmail.com
Об авторе
Кэрол Пэгг - Ph.D., старший научный сотрудник, Кембриджский университет, Кембридж, Великобритания. Эл. адрес: capegg59@gmail.com
© Пэгг К., 2024
