English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Open

Presents the pdf analysis as premium feature

PDF Analysis

Insights

Presents the summarisation as premium feature

Summarisation

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the zaia usage as premium feature

ZAIA

Zendy Tools

Zendy Plus

Presents the access of premium content as premium feature

Premium Content

Throat-singing is a form of singing practiced in a number of cultures, but it is not part of the pre-modern folk cultures of Western Europe that shaped contemporary Western popular culture. In contemporary Western music, throat-singing from Central Asia is used or sampled in global fusion and dance music as an example of the mystical, timeless orient. In world music, another Western form of music, artists from China, Mongolia and Tuva who incorporate throat-singing and roots music forms have become popular acts at festivals and the touring circuit. Throat-singing has also been used by extreme metal bands from Asia to signify their authenticity and their connection to this traditional culture. In this paper, I explore how throat-singing is used by performers and consumers to construct belonging, authenticity, identity and extremity. I focus in particular on how throat-singing and traditional cultural tropes are used by the Chinese folk metal band Tengger Cavalry and Darkestrah, a black metal band from Kyrgyzstan.

Throat singing as extreme Other: An exploration of Mongolian and Central Asian style in extreme metal