“The khomus is my red deer on which I fly through the middle world” (Khomus in the shamanic practice of Tuva: Research issues)

The author recounts his first exposure to Tuvan music at the 1991 International Congress of Jew's Harp Music in Yakutia, where a Tuvan band distinguished itself through distinctive khomus (Jew's harp) playing and throat singing. Gennadii Chash later taught the author throat singing during visits to Tuva, where he met musicians and ethnomusicologists, attended music symposia, researched Tuvan khomus techniques, and co-produced a CD of recordings (2013). The author focuses on khomus techniques in shamanic practice, drawing on Sevyan Vainshtein's studies of shamanic rituals, ethnographic videos, and his own observations.

Study at a glance

Abstract

The author first got acquainted with Tuvan music in 1991, at the 2nd International Congress of Jew’s Harp Music in Yakutia, Russia. Among other ethnomusical bands from Russia’s various regions and CIS states, the Tuvan band stood out with its special techniques of playing the khomus (Jew’s harp) and of throat singing which accompanied their music. One of them, Gennadii Chash, later tutored the author in throat singing during the latter’s visits to Tuva, where he also met Tuvan musicians and ethnomusicologists. The author attended a number of symposia on music in Tyva and researched the Tuvan khomus playing techniques. He also co-produced a CD with their audio recordings (2013). Of special interest for the author are the khomus playing techniques as they are used in shamanic practice. The author follows the study of the shamanic rituals as they appeared in the works of the Russian scholar Sevyan Vainshtein, in the videos made during his ethnographic field studies, and also reflects on his own observations.