Methods of audio production while throat singing

Introduction: bioacoustics of the throat signing is not a well-studied fi eld and it demands
interdisciplinary approach. Based on broad studying of numerous materials and master classes with
throat singers we came up with a conclusion that all variety of throat signing styles are based on
two types of phonation (kargyraa and khoomei) and two types of overtoning in combination with
“postfi ltration” methods and modulation of “fi nal” sound signal.
Objective: to study methods of sound producing while throat singing.
Materials and methods: we have used videolaringoscopic method of visualisation of larynx of
throat singer and acoustic spectrum analysis of audio samples.
Results of research: videolaryngoscopy showed that kargyraa and khoomei phonation positions
cause pharyngeal wall constriction and abrupt striction of inlet to larynx with the possibility of
overtoning in the lower register and impossibility of overtoning in the upper register. Spectral
analysis revealed the amplifi cation of high formants with the isolation of individual overtones by
3 octaves above the fundamental tone in the sample of khoomei, and a similar case, but with the
appearance of a subtone an octave below the fundamental tone with its own harmonics and the
singling of individual overtones by 2 octaves above the fundamental tone, in the kargyraa sample.
In the sygyt style the contrast between the bourdon and the overtone is much stronger due to the
position of the tongue, and in the chylandyk style discordant second and half-second harmonies
are formed.
Conclusion: the basis of sound production during throat singing is a distinct narrowing of the of
inlet to larynx with the help of vestibular folds in the case of kargyraa phonation, and the formation
of resonator chambers inside the larynx and in the laryngopharynx is the basis of the overtones
production, regardless of the phonation position. It is impossible to use an intralarynx resonator
at full capacity without participation of the vestibular folds in the oscillatory process. The use of an
epiglottic resonator chamber during kargyraa style singing is limited by the resonance release of
discordant seconds and half-seconds harmonies.