Tuvan throat singing (khoomei) is a traditional vocal art from the Turkic-speaking people of Tuva in the Sayan–Altai region of southern Siberia.
It is a biphonic technique in which a singer sustains a low drone (the fundamental) while shaping mouth, tongue, and throat to amplify specific overtones, producing the perception of multiple pitches at once.
Distinct styles such as khoomei (soft, airy), sygyt (bright, whistling overtones), and kargyraa (deep, growling undertone) evoke the sounds of wind, rivers, and horse hooves and reflect a nomadic pastoral worldview.
Performances often feature traditional instruments like the igil (two-string bowed fiddle), doshpuluur (lute), shoor (flute), and khomus (jaw harp), and can be either solo or ensemble-based.
Tuvan throat singing likely predates written records, with roots traceable to at least the 13th century. It developed among nomadic herders in the Tuvan steppe and mountain valleys, where singers mimicked natural sounds and honored animist/shamanic beliefs. The technique’s emphasis on the harmonic series aligns with the sonic landscape of open plains and resonant spaces like yurt interiors.
Russian ethnographers and explorers began noting khoomei in the 19th century. In the Soviet period, formal ensembles, state folk troupes, and radio archives expanded documentation, while local masters standardized and taught named styles such as khoomei, sygyt, kargyraa, ezengileer, and borbannadyr. Despite changing cultural policies, khoomei remained a symbol of Tuvan identity.
From the 1990s, groups like Huun-Huur-Tu and Shu-De brought Tuvan throat singing to international stages, influencing world fusion, ambient, and experimental scenes. Collaborations with jazz, rock, and electronic musicians showcased khoomei’s versatility. Today, institutions in Kyzyl (Tuva’s capital) host festivals and competitions, while younger ensembles blend traditional styles with contemporary production, ensuring transmission and innovation.