]

Tuvan throat singing, Khoomei, Hooliin Chor (in Mongolian, throat harmony), or Mongolian throat singing is one particular variant of overtone singing practiced by people in Mongolia, Inner Mongolia, Tuva and Siberia. It's inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO, under the name Mongolian art of singing, Khoomei.

In Mongolian throat singing, the performer produces a fundamental pitch andsimultaneouslyone or more pitches over that. The history of Mongolian throat singing reaches far back. Many male herders can throat sing, but women are beginning to practice the technique as well. The popularity of throat singing among Mongolian seems to have arisen as a result of geographic location and culture. The open landscape of Mongolia allows for the sounds to carry a great distance. Ethnomusicologists studying throat singing in these areas mark khoomei as an integral part in the ancient pastoral animism that is still practiced today. Often, singers travel far into the countryside looking for the right river, or go up to the steppes of the mountainside to create the proper environment for throat-singing.

The animistic world view of this region identifies the spirituality of objects in nature, not just in their shape or location, but in their sound as well.[3] Thus, human mimicry of nature's sounds is seen as the root of throat singing. (An example is the Mongolian story of the waterfall above the Buyan Gol (Deer River), where mysterious harmonic sounds are said to have attracted deer to bask in the waters, and where it is said harmonic sounds were first revealed to people.)[citation needed] Indeed, the cultures in this part of Asia have developed many instruments and techniques to mimic the sounds of animals, wind, and water.[citation needed] While the cultures of this region share throat singing, their styles vary in breadth of development.

It is simply the harmonized sounds that they are able to produce from deep within their throats.[4] Ordinarily, melodies are created by isolating the 6th, 7th, 8th, 9th, 10th and 12th partial in accordance with the harmonic series (if fundamental frequency were C3, the overtones would be: G5, B5, C6, D6, E6, G6), though it is possible to reach as low as the 2nd and as high as the 24th. The fundamental pitch is typically around a G below middle C, and this affects the range of partials the singer can reach, with higher partials more easily reached on lower notes, and vice versa.