Traditional Songs
Tuvans' belief in spirits is apparent in their musical practices. Praise songs and chants, called algysh, and the rhythmically-chanted poetic couplets that precede breaths of throat-singing, address cher eezi, or local-spirit masters with words. Throat singing is instead made to imitate sounds produced by the places or beings in which the spirit-masters dwell. Singers establish contact with the spirit-master by reproducing the sounds made and enter into conversation, whose aim is supplication, an expression of gratitude, or an appeal for protection. The same imitative or mimetic interaction with the natural sound world may also be meditated through the use of traditional musical instruments. Calm, mimetic singing in reproduction of the sounds of a certain place is believed to be the best possible offering to spirit-masters.
This region is also famous for its indigenous shaman population. Shamans commonly created music in order to call upon spirits, conjure ancestors, discover birthplaces, connect with natural surroundings, and to attract spirits for hunters. Shamans were not the only people to practice this type of communion between nature and song. Shepherds would also play music to herd animals and imitate galloping horses. Each song had a certain meaning according to where the musician was and whether or not the situation was work or relaxation. Early Tuva created sounds that don't fit in with Western musical theory but instead stand alone, existing for a certain way of being.
Many traditional Tuvan songs share the same structure. They may consist of several verses, each four lines long, and each line having eight syllables. It is not uncommon for all lines in a verse to begin with a word starting with the same letter or a similar sounding letter.
Read more about this topic: Music In The Tyva Republic
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