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Different use of overtone singing

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Overtone singing can produce two tones at the same time. The most direct use is the overtone is melody playing, offering a different timbre contrasting to normal singing. The example below is a famous group from Tuva, skip to 00:50 for the overtone singing section. A skilful singer can also provide polyphonic texture with overtone singing. Since there is a second voice in the overtone, the density is thicker. In Tibetan Buddhist chanting, the overtone part is static compared to the melodic contour in Tuvaina. Overtone in Buddhist chanting provides a richer and more resonating timbre. The texture is thicker and wider in regard to the density, thickness, range, or width, between the lowest and highest pitches.

Language of the texts and musical styles of shōmyō

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The languages used in shomyo demonstrate the migration of Buddhism, from India via China and settling in Japan, from Sanskrit to Chinese and Japanese.  One type of shomyo language is transcription phonically from Sanskrit. Back in the time, people did not have IPA. People in China used Chinese characters to transcribe Sanskrit phonically. Then, the Japanese pronounce the Chinese transcription in Japanese. In both cases, the phonic transcription is not systematic or accurate. The meaning of original literal meaning of Sanskrit was lost in translation. It is all about the sonic experience, in this case, the texts are often performed in melismatic. On the contrary, the literal translation translates the meaning from Sanskrit, texts were drafted in Japan, and explanatory or narrative in ceremonies are chanted in Japanese and with literal meaning. These texts are meant to be heard, so it is often are performed in syllabic settings. Contour Notation The notation is not that accurate...