Musiques de la Toundra et de la Taïga

Buryat folk music is the traditional music of the Buryat people of Siberia, centered in the Republic of Buryatia (Russia) and bordering Mongolic regions. It blends ancient shamanic ritual song, epic recitation (uliger), Buddhist devotional elements, and steppe song traditions shared with Mongolian cultures. Characteristic features include pentatonic melodies; long, melismatic vocal lines reminiscent of Mongolian “long song” practice; occasional overtone/throat-singing techniques; and the use of instruments such as the morin khuur (horse-head fiddle), khuuchir (spike fiddle), limbe (end-blown flute), jaw harp (khomus), frame drums, and various rattles used in ritual contexts. Social dance songs, notably for the yokhor circle dance, emphasize call-and-response and steady, communal rhythms. Themes frequently celebrate the steppe, horses, kinship, and spiritual life, with lyrics that may invoke nature spirits in older shamanic pieces or reflect Tibetan Buddhist poetics introduced from the 18th century onward.

Sakha traditional music is the indigenous music of the Sakha (Yakut) people of northeastern Siberia. It centers on epic chant (Olonkho), ritual incantations (algys), improvisatory song (toyuk), and highly developed timbral techniques, especially the khomus (Jew’s harp). The sound world is characterized by monophonic vocal lines ornamented with glottal shakes, trills, and overtone-rich timbres; flexible, speech-like rhythms; and drones or ostinati produced by the khomus or frame drum. Much of the repertoire imitates the natural environment—wind, rivers, reindeer, horses—and encodes cosmology, ethics, and communal memory. While deeply ancient and rooted in shamanic practice, Sakha traditional music has continued to evolve through contact with neighboring Turkic and Mongolic cultures, Russian liturgical and folk traditions, and modern stage practice.