Despite their previous rich stage experience, they were still nervous about how the new musical genre and expression would be received by the audience. The tension of that first performance still remains fresh in the minds of each band member to date. In September 2017, the band’s debut performance was held in Kunming, Yunnan Province. The five band members Tsewang, Rinchen, Zhade, Tseji, and Limao all studied under the tutelage of Sonam Drolma, a national inheritor of the Tibetan Buddhist chants. The music Tuo Le produces originated from a music form of Tibetan Buddhist chanting. Audiences sit enraptured during every performance, while being carried away by the music to the snow-capped land of Tibet. What lingers in the hearts of the audience is only the melodious music of their gentle singing accompanied by musical instruments. For their performances, they use neither complicated instruments nor multifarious stage effects. During the performance, they sing gentle melodies that come from the faraway Qinghai-Tibet Plateau. Tuo Le’s band members include two Tibetan women, who are twin sisters, and three Tibetan men. They combined folk music with Buddhist chants to create a new music genre which is written in the form of Tibetan Buddhist praying. Four years ago in September 2017, five young people from China’s Tibet Autonomous Region founded a band named Tuo Le. This type of music, originally a medium of praying for blessings, has now gained national recognition as a national intangible cultural heritage. Tuo Le Band on stage during an interval at one of their performances. Its roots extend back to ages ago, yet still lingering with us today. Listeners can gain spiritual edification and release the pressure in their soul by listening to its songs and chants. Throat-singing was once only a folk tradition, practiced in the windy steppe, but it is now embraced as an emblem of Tuvan identity and more often performed by professionals in formal settings.There is a kind of music that is natural, healing, and melodious. With their throat-singing, Tuvans imitate sounds of the natural surroundings-animals, mountains, streams, and the harsh winds of the steppe. The Tuvan herder/hunter lifestyle, with its reliance on the natural world and deeply-felt connection to the landscape, is reflected in this Tuvan vocal tradition. Throat-singing in Tuva is almost exclusively practiced by men, although the taboo against women throat-singers, based on the belief that such singing may cause infertility, is gradually being abandoned, and some girls are now learning and performing Khöömei. Young Tuvan singers are trained from childhood through a sort of apprentice system to use the folds of the throat as reverberation chambers. Singers use a form of circular breathing which allows them to sustain multiple notes for long periods of time. Tuva is a predominantly rural region of Russia located northwest of Mongolia. Throat-singing is most identified with parts of Central Asia, but it is also practiced in northern Canada and South Africa where the technique takes on different styles and meanings. By precise movements of the lips, tongue, jaw, velum, and larynx, throat-singers produce unique harmonies using only their bodies. In throat-singing, a singer can produce two or more notes simultaneously through specialized vocalization technique taking advantage of the throat's resonance characteristics. For those who think the human voice can produce only one note at a time, the resonant harmonies of throat-singing are surprising. Throat-singing, a guttural style of singing or chanting, is one of the world's oldest forms of music.
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