Review Article MANUFACTURING TECHNIQUES for MONGOLIAN ETHNIC MUSICAL INSTRUMENT MORIN KHUUR: TRADITIONS and MODERNITY (PHILOSOPHICAL PROBLEMATIZATION)

Home , Morin khuur, Music of Mongolia, Prehistoric Mongolia

Journal of Critical Reviews

ISSN- 2394-5125 Vol 6, Issue 6, 2019

Review Article MANUFACTURING TECHNIQUES FOR MONGOLIAN ETHNIC MUSICAL INSTRUMENT MORIN KHUUR: TRADITIONS AND MODERNITY (PHILOSOPHICAL PROBLEMATIZATION).

Nаsu PhD, associate professor, professor at the Department of Philosophy, Cultural Studies and Science, State Budgetary Educational Institution of Higher Education Belgorod State Institute of Arts and Culture, 7 Koroleva St., 308000, Belgorod, 308000.

Corresponding author: Galina N. Kalinina, PhD, associate professor, professor at the Department of Philosophy, Cultural Studies and Science, State Budgetary Educational Institution of Higher Education Belgorod State Institute of Arts and Culture, 7 Koroleva St., 308000, Belgorod, 308000, [email protected];

Received: 14.11.2019 Revised: 10.12.2019 Accepted: 13.12.2019

Abstract. The subject of the study is the typical design characteristics of the Mongolian folk musical instrument Morin khuur, which form its qualitative specificity as a spokesman for the Mongolian ethnos (including the features of sound images typical of the early game practices of Mongolian song art. The objective is to reconstruct the traditional production techniques of the morin khuur and to expose it as a descendant of the "horse harp", the exponent and carrier of the ancient nomadic "horse culture" of the Mongols. Key words: Inner / Outer Mongolia, Morin khuur, technology, manufacturing cycle, shape, design, dragon-headed khuur, lion- headed khuur, shovel-headed khuur, bucket-headed khuur, human-headed khuur, horse-headed khuur, wooden / leather case, "horse" raw material, tradition, innovation, standard.

INTRODUCTION. Mongolian ethnic instrument Morin khuur - the "steppe pearl" The traditional morin khuur is commonly understood as a and cultural code of not only songs, but alsoday to day routine class of string instruments of the "morin khuur family" (ikili, practices, ascending in its genesis to the earliest models of life huer, erhu, bunhu, ouzinhu, yaekler, sinagan khul, khudovochi) of the Mongols - "people on horses". That is, the Mongols have of the pastoral nomadic life of "people on horses"), while today an image of a horse, first of all, initially acts as a carrier of deep it is a living tradition. At the same time, today there are senses, forming the basic natural and emotional concept - processes of transformation and modification of the traditional images of Mongolian song art. And, secondly, it reflects typical morin khuur model, and therefore there is a need for features of both everyday life and the mentality of the philosophical reflection of these processes affecting the Mongolian ethnos, emphasizing their "steppe" specificity. present and future of the "steppe pearl". While the traditional instrument itself with a leather body and a vulture (horse's head) is a sacral fusion of music and man METHODOLOGY: [Nasu, 2019]. Unfortunately, we have to admit the obvious: in The following methods have been used: comparative and the conditions of globalizing, in fact, already networked world, analytical methods (during expeditionary and field studies to the processes of multiculturalism and musical integration are study the characteristics of morin khuur in the Outer and in danger of blurring the boundaries of traditions of many Inner Mongolia, in the preparation of encyclopedic and cultures and peoples. And the Mongolian ethnos with the best reference materials); method of historical reconstruction (to examples of its traditions is no exception. In this regard, the reflect the stages of evolution of ancient Mongolian problematic field of our study is the Mongolian string ethnic instruments; general philosophical methods and principles, instrument Morin khuur, "behind the shoulders" of genesis contextual and cultural-historical approaches (to which is a long and difficult cultural-historical evolution of conceptualize ethnic Mongolian music). mountain, hunting and pasture nomadic culture of Mongolian tribal communities. FINDINGS: research and systematization of morin khuur production The research interest in early song culture, string ethnic technologies in the conjugation of traditions and modernity; instruments, which are collectively performed by the "horse substantiation of the necessity to develop the optimal standard harp", was found in a solid array of historical manuscripts of traditional morin khuur model taking into account the [Wang Yu-he, 1994; Sazykin, 1988; Uspensky, 2014]. They necessary parameters (choice of production material, design give definitions of ancient musical instruments of small characteristics, methods, methods of adjustment, etc.), which ancient northern peoples Shi Chin (or Hu Chin). In this series: together allowed to identify the qualitative specificity of morin "Poems of Ching Tang" (of the period of the state of Tang and khuur in the ethnic music of Outer and Inner Mongolia, to Mon Ho Ran), "Musical Notes" by Chi Yang (of the state of substantiate its place and role in the modern culture of China; Song), "Notes of Shi Lin Wan" by Ching Yuan Lanya, relating to the study contains the author's opinion, that are of potential the same period of Ju Tsi-hyun. No less significant is the series interest to craftsmen, specialists in modern morin khuur, of works by Inginash ("The Hidden Legend of the Mongols", acting as a good, including reference, support in their work. "The Basic Brief Golden Notes of the Khaans", "The White History of the Book of Ten Benefactors", "The Story of Yuan, MAIN PART. Notes on Ceremonial Music", as well as the work of the The topicality of the work and its problematic and Japanese Li Shang Sang-Nu, "Study of Musical Instruments of philosophical perspective, first of all, are conditioned by the East Asia" [Wasiliev, 1976]. author's concerns for the destinies and prospects of the unique

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MANUFACTURING TECHNIQUES FOR MONGOLIAN ETHNIC MUSICAL INSTRUMENT MORIN KHUUR: TRADITIONS AND MODERNITY (PHILOSOPHICAL PROBLEMATIZATION).

Traditional conceptual studies, such as the "History of - Lower threshold Mongolian National Music" and "History of Mongolian National - Fingerboard Music" by Khujilta, are essential for understanding the It is an undeniable fact that any musical instrument of any development and evolution of the history of Morin khuur, and country, any nation is one of the significant and obvious in addition to their research value, they have considerable indicators of the cultural level of this nation, with good reason reference value. Important and rare knowledge about morin can be attributed to the Mongolian national musical khuur is also reflected in Chinese reference and encyclopedic instrument morin khuur. With a certain amount of publications, we have learned in special articles about unique conditionality we can say: it is enough just to look at the folk musical instruments - accumulators of folk culture, which crowning figure of this instrument - the head of the Qin horse actualize the problems faced today by composers, performers, (this common name combines all kinds of musical instruments music teachers in the conditions of absorption of traditional of this type) (as well as the instrument itself), to draw a cultures by modern technogenic environment . An conclusion about a sufficiently high level of applied Mongolian interdisciplinary layer of source studies literature (culturology art as one of the indicators of the cultural level. history, pedagogy, music, ethnography, aesthetics, etc.) should also be named, represented, among other things, by theoretical The very etymology of the word "morin khuur" is connected criticism, modern interpretations of morin khuur (from with the Mongolian "Qin Horse", while some authors believe apology to skeptical attitude in terms of recreating "antiquity") that the name is connected with the fact that the neck of the [Benyumov, 1981; Vinogradova, Zhelokhovtsev, 1982]. In this instrument ends with a skillfully carved horse's head. While key many foreign and "local" (in Inner and Outer Mongolia) others adhere to the version according to which in the scientists and specialists write, reflecting the intensity and repertoire of the first performers of the Morin khuur game the ambiguity of publications. In addition, analytical materials on a main place was occupied by the music "about horses". (It is no selected topic of work (Hong Kong Institute, Asian Scientific coincidence that in some translation materials from the Research Center, etc.), dissertation funds of Russia, China and Mongolian language there are expressions "art of the harp of the Outer and Inner Mongolia are also useful for us [Nasu, the horse's head", "horse violin"). However, in some nuances 2019; Nasau, Rimsky, 2019]. both lines confirm the existence of a tradition connected with the place, role and significance of such a central in the question This review, of course, does not exhaustively cover all the of morin khuur's origin "character" as a horse (with its multilateral issues, but it certainly states the sustainability of different functional purposes) in the nomadic everyday life of the interest in morin khuur as an "especial case" of a broader Mongols [Vasilchenko, 1986; Lanjze, 1998; Tsatsrangui, 2002]. context - the history of Mongolian folk music culture. However, we are particularly interested in special works on the quality Indeed, as such the Mongolian man, regardless of, say, his of its specificity. In this series we will name the works of the origin, social status, material well-being, age, sex, etc., was not music researcher Burin ("Review of the Characteristics of the separated from the horse, or rather was genetically merged Emergence, Development of the Morin Khuur" "Steppe Pearl with it both physically and spiritually. And it is clear: the 1982"); the French music researcher Magsarzhava ("The Mongolian horse, breeding on the territory of Mongolian lands Master of the Hair - Morin Khuur" / Committee of the press of in distant times, enduring, unpretentious, adapted to the year- the culture of Inner Mongolia, 2000); In the same key the round tabunnogo content, was not just a vital animal (pack, following aauthors write: Ulalzh ("On the History of the Morin riding) for each family - it became a symbol for all people. Khuur"/ Steppe songs, 1985).), L. Erdenechimeg ("Twelve Mongolian horse, as every symbol (from Greek "symbol" - Melodies of the Morin Khuur" /Ulan Bator, 2003), etc. "sign, identification omen"), containing the characteristic of [Tsatsrangui, 2009]. the image in terms of its meaningfulness, inseparability from the image structure and its inexhaustible multiplicity, and At the same time, it should be recognized that there are a today is an object of worship for the Mongolian. In that way number of "bottlenecks" associated with the holistic which personifies the good, depending on which the scale of reconstruction and reflexion of morin khuur. A particularly relative value of all other goods is determined, and in weak link, in our opinion, is the problem of the influence of consciousness the notion of "good" is constructed [Ulsiibaatar, contemporary transformations in Chinese culture on morin Ariunbold, 2013]. khuur identity within the boundaries of its self-establishment; aspects of attracting lost or partially forgotten technologies of In the course of many years of personal practical research, we its production, revival of "from the non-existence" of morin have found that: first, the front side of the body was made of khuur masters secter author's ways; the questions of game animal skin, the back of the body was made of wood. At the and performing repertoire, disputable influence of musical and same time, the body was originally made of the skin of the tail integration processes on ethnic song creativity, in the orbit of part of animals, and then from the skin of goats, camels, calves, which the social and cultural life of Outer and Inner Mongolia and as an experiment, from the skin of a snake. In accordance is involved today freely or unwittingly, also adjoin. with the tradition of making tools, goatskin is aged in "yellow" water left after sour koumiss for 6-7 days, stretched and nailed Depending on a number of objective and subjective factors wet on the body, and after drying it is dyed in green-brown, (ranging from the geographical location of the masters to the and the two sides are mostly Өлзий, Түмэннасан patterns. time coordinates), the systematization of all groups of Mongolian musical string instruments is based on such an Secondly, we have found that when playing on the hairs of element as the "head of the neck", divided into six large horses taken from representatives of different countries, groups: 1) dragon-headed khuur, 2) lion-headed khuur, 3) continents of the world, the morin khuur musician shovel-headed khuur, , 4) bucket-headed khuur, 5) human- D.Enhjargalom /Ebi/, from horses that are said to have come headed khuur, 6) horse-headed khuur. Turning to the structure from Mongolia to Japan, the island of Jeju of Korea (and from of the instrument, we will see: horse-headed khuur and a leather the hairs we personally collected when visiting the southern body, typical for the musical culture of Outer Mongolia. This territory of China) the hairs from the tail of Mongolian horses structure is represented by nine elements: give slower, long sound, and for 2-3 hours on the full tone - Horse-shaped head setting the sound of the small octave of fa /f/, C flat /b/, after - Ears (or tuning pins) the reverse setting after one hour on the main setting, the - Upper threshold rupture volume of the thin string was 20% or about 25 pieces, - Neck thick string 8% or about 8-10 pieces. - Corpus - Bow /from intertwined leather/ Thirdly, we concluded that, with regard to preserving the basic - 2 strings. setting, the continuation of the play was very unlikely. And

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MANUFACTURING TECHNIQUES FOR MONGOLIAN ETHNIC MUSICAL INSTRUMENT MORIN KHUUR: TRADITIONS AND MODERNITY (PHILOSOPHICAL PROBLEMATIZATION).

when playing on the setting, the full size below the basic the state. b-Ki USSR them V. I. Lenin 21. 07. 81; No. setting, the position was better, but not long enough. Our tests 191)] were conducted in normal humidity, temperature, and it's 2. .Benyumov, M. I. Experience of semiotic analysis of clear that the position in places with high humidity will be artistic means of music / / Music science in the post- much worse. They used hairs of different colours, mostly Soviet space: materials of the II international brownish. Ultimately, these tests confirmed that only the tails conference. Internet Conf. RAM im. Gnessin. of Mongolian horses living in Mongolia can withstand the (15.01.2011-15.05. 2011). Mode of access: tension of the morin khuur strings tension and that they are http://www.gnesinstudy.ru/category/semiotika much better in terms of their physical and mechanical 3. Wang Yu-he. History of Chinese music in modern times. characteristics than others. We consider all this to be another Beijing, 1994. 468 PP. proof that the morin khuur instrument was created by 4. Vasiliev L. S. History of the East: In 2 vols.: Higher Mongols in Mongolia as well. Indeed, in the development of school, 1976. 495 P. the morin khuur, the heads of horses, birds of the guard, swan, 5. 5.Vinogradova E. V. Chinese music / / Musical dragon, lion were used. However, the most common encyclopedia: in 6 vols. / E. V. Vinogradova, A. N. decoration was the horse's head and there is no doubt that the Zhelokhovtsev. Moscow: Soviet encyclopedia, 1973- instrument became known as the morin khuur. 1982. Vol. 2: Gondoliers-Korsov. 958 P. 6. Wu Lanji. History of Mongolian music. Hohhot: people's Symptomatically, in 1965, the first workshop for repairing publishing house of Inner Mongolia, 1998. 4. musical instruments was opened at the Folk Song and Dance 7. Zavadskaya E. V. Culture of the East in the modern Ensemble, which was a very significant step. In 1989 it grew Western world. M. Science. 1977. into a musical instruments manufacturing company, and since 8. Lanitza W. The history of the music of Mongolia. 1991 it has been continuing its activity under the name of People's publishing house of Inner Mongolia, first "National Musical Instruments Company", with an established edition. 1998. production of more than 20 kinds of musical instruments. It 9. Nasu National-cultural features of Mongolian folk music should be said that the traditional Mongolian morin khuur, and its humanistic potential / / Danish scientific which has a body with stretched goat skin, the skin of stallions, journal. No. 28 / 2019. Pp. 55-57 since 1960s, was improved by the efforts of a specialist 10. Nasu, Rimsky V. P. Folk music culture in China teacher Denis Yarovoy, as a result of which - the instrument (Mongolian cultural features in the context of the has acquired the form of a modern morin khuur with a musical instrument Morinhuur) / / folk music culture of wooden body . In many ways, it met new challenges in world the Russian province: problems of preservation and music culture. development: collection of reports of the international scientific and practical conference (within the VIII CONCLUSIONS scientific and creative "Manichkin readings", Belgorod, In view of the above context, we have sufficient grounds to March 21-22, 2019). Belgorod, of BGIIK, 2019. Pp. 238- conclude that the Morin khuur instrument is the most revered 241. musical instrument, a source of pride for Mongolian peoples, 11. Pozdneev, A. M. Mongolia and the Mongols. T. I. S. X1- which is spreading all over the world and acquiring the XXVI.The results of the trip to Mongolia, performed in qualities of a nation's image, rightfully being a national symbol 1892-1893 by A. Pozdneev. Vol. I: Diary and itinerary of of Mongolia . And since any national musical instrument gives 1892. SPb., 1896. a multilateral and visual representation of the life of an entire 12. Sazykin A. G. Catalogue of Mongolian manuscripts and nation, its way of life, aesthetics and thinking, the task of a woodcuts Of the Institute of Oriental studies of the USSR comprehensive scientific study of morin khuur (including the Academy of Sciences. Vol. 1 M., 1988 No. 413. study of design, instrument adjustment, concentration of 13. Uspensky V. L. Mongolian, Oirat and Tibetan different opinions of masters in one direction, etc.) - all this is manuscripts and woodcuts, received in St. Petersburg extremely important for the dynamics of musical folk culture University from A. M. Pozdneev. In: Mongolica-VI: Sat.: of the Mongols and its modern phenomenology [Wu Lanji, St. Petersburg Oriental Studies. 2014. Pp. 19-24. 160 P. 1998]. 14. Ultimate, Ariunbold. Musical traditions of the Mongols in the system of regional civilization of Central Asia / / At the same time, the primary, in our opinion, is a painless Vestnik MGUKI 4 (54), July-August 2013. Pp. 249-253. problem affecting the combination of personalized unique 15. Schneerson, G. M. Musical culture of China / G. M. methods of morin khuur production with the correct and Schneerson; Foreword. D. Kabalevsky. - Moscow: scientifically grounded use of modern technologies for the Muzgiz, 1952. 251 P. optimal identification, enrichment and development of musical 16. Catangui T. Methodological issues of setting, learning potential of the instrument, increasing its cultural prestige on games for Maureen houre. Ulaanbaatar, 2009. the musical Olympus. However, we are forced to state that 17. Ju Qi-Hong. History of Chinese music 1949-2000. there is a subjective factor lying in the plane of lack of desire of Hunan, 2002. 238 P. some masters-specialists (carriers of secret technologies) to work constructively in this direction. For today this question remains in a stage of the decision, partially resulting in a problem of "intellectual property", patentability on possession of the confidential data. In the most general form, it is a question of overcoming "private", narrow and perhaps selfish interests of masters for the sake of "common good" (in a wide range of possibilities: from specific production technologies to musical and performing techniques). Of course, all this implies a qualitatively different level of thinking and motivation. But at the moment it is extremely problematic to overcome this trend of lack of dialogue.

REFERENCES: 1. Benyumov M. I. On the concept of musical performance. Krasnoyarsk, 1981. 51 p. (Manuscript of the Department in the research Institute of information of

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