DOCSLIB.ORG

A Performance Guide to Se Enkhbayar's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Performance Guide to Se Enkhbayar's A PERFORMANCE GUIDE TO SE ENKHBAYAR’S CHORAL TONE POEM ÖNCHIN BOTOG (A LONELY BABY C AMEL) FOR SATB SOLOISTS AND SATB CHORUS (WITH DIVISIONS) A CAPPELLA Pei Chi Lin, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Richard Sparks, Major Professor Jeffrey Snider, Committee Member Allen Hightower, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of College of Music Victor Prybutok, Dean of the Toulouse Graduate School Lin, Pei Chi. A Performance Guide to Se Enkhbayar’s Choral Tone Poem Önchin Botog (A Lonely Baby Camel) for SATB Soloists and SATB Chorus (with Divisions) A Cappella. Doctor of Musical Arts (Performance), May 2018, 68 pp., 7 tables, 1 figure, 39 musical examples, bibliography, 36 titles. Se Enkhbayar (b. 1956) is one of the most important contemporary Mongolian composers in China. His choral tone poem, Önchin Botog, integrates the traditional Mongolian musical elements Urtiin Duu (long song) and Khöömii (throat singing) with modern choral music and is one of the most representative works in the genre of modern Mongolian choral music. The purpose of this study is to provide a performance guidance for non-Mongolian musicians on Se Enkhbayar’s work, Önchin Botog, by presenting his biographical and cultural backgrounds, discussing the use of traditional Mongolian singing styles, special rhythmic patterns (horse-step rhythm) and Chinese pentatonic scales. For conductors, this guide can shorten preparation time by providing musical analysis for artistic interpretation and practical points for sound effect creation. For solo singers, this guide will enable a Bel Canto singer to sing Urtiin Duu in Mongolian singing style. For Khöömii singers, this guide provides supplementary practical suggestions. Copyright 2018 By Pei Chi Lin ii ACKNOWLEDGEMENTS This research involves data mostly from Inner Mongolia, China that were never easy for researchers to gather residing in the United States. Se Enkhbayar, the composer of the subject song, has made it easy for me by always providing information and answers promptly. This study could not have been done without his enthusiastic cooperation. I would also like to thank him for his hospitality during my field study trip to Alxa of Inner Mongolia, China. I would like to thank Dr. Richard Sparks, my research advisor, for his guidance, constant encouragement, and helpful critiques, and the members of my committee, Dr. Jeffery Snider and Dr. Allen Hightower, for their encouragement and support. I would also like to offer my special thanks to Dr. Jerry McCoy, my former advisor. Thank you for helping me become a better musician and directing me in my research topic selection. I owe a special thanks to Jim Tso for spending a lot of time mentoring and editing my academic writing; and to various people for their contributions, Henry Huhtulag and Dasula for their lyric translations from Mongolian to Chinese and IPA for this project; Jin Shan (金山), Tamir Hargana, both professional Khöömii singers, for answering my questions in Khöömii singing. Finally, I wish to thank my parents for their support and encouragement throughout my life; especially my mother for taking care of my newborn son during this period. Most importantly, I wish to thank my loving husband, Eun-Hwan Kim, who makes unconditional sacrifices. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF TABLES AND FIGURES .............................................................................................. vi LIST OF MUSICAL EXAMPLES ............................................................................................... vii CHAPTER 1. INTRODUCTION ................................................................................................... 1 1.1 Se Enkhbayar’s Compositional Styles and Output ................................................. 5 1.2 Traditional Mongolian Musical Elements in Se Enkhbayar’s Önchin Botog ......... 6 1.3 Performance Guide ................................................................................................. 6 CHAPTER 2. SE ENKHBAYAR ................................................................................................... 8 2.1 Biographical Sketch ................................................................................................ 8 2.2 Overview of Se Enkhbayar’s Productions and Contributions .............................. 10 2.3 Motivation of Creation of Önchin Botog .............................................................. 12 CHAPTER 3. PERFORMANCE GUIDE .................................................................................... 13 3.1 The Use of Traditional Mongolian Musical Elements .......................................... 13 3.1.1 Chinese Pentatonic Scale .......................................................................... 13 3.1.2 Melody ...................................................................................................... 14 3.1.3 Interval ...................................................................................................... 19 3.1.4 Harmony ................................................................................................... 20 3.1.5 Rhythm ...................................................................................................... 21 3.1.6 Grace Note ................................................................................................ 23 3.1.7 Glissando................................................................................................... 23 3.1.8 Urtiin Duu ................................................................................................. 24 3.1.9 Khöömii: ................................................................................................... 24 3.2 The Use of Contemporary Compositional Techniques ......................................... 26 3.2.1 Tone Clusters ............................................................................................ 26 3.2.2 Dissonant Chords ...................................................................................... 27 3.2.3 Shouting .................................................................................................... 27 3.2.4 Polychord .................................................................................................. 28 3.2.5 Riff ............................................................................................................ 28 iv 3.3 Musical Structure .................................................................................................. 28 3.3.1 I. Önchrel (Loneliness) ............................................................................. 29 3.3.2 II. Erel (Searching) ................................................................................... 29 3.3.3 III. Khusel (Longing) ................................................................................ 30 3.4 Pronunciation and Lyrics Translation ................................................................... 30 3.5 How to Perform the Sounds of Nature .................................................................. 31 3.5.1 Botog ni builaa (Camel Whining), mm. 1-2 ............................................. 31 3.5.2 Salkh shuurkh (Wind Whistling), mm. 3-6 ............................................... 32 3.5.3 Tsujsen yikh Gobi (Gobi Whispering), mm. 7-9 ....................................... 33 3.5.4 Bukh urgmuluud uilakh (Skies Crying), mm. 14-16 ................................. 33 3.5.5 Ugalze shuurakh duu chime (Storm Howling), m. 15 .............................. 34 3.5.6 Tenger gazar khilinnekh (Earth Roaring), m. 16 ...................................... 35 3.5.7 Amiskhaa tebdekh (camel Panting), mm. 157-162 ................................... 36 3.6 Relationship between Lyrics and Music ............................................................... 36 3.7 Challenges for Solo Singers: Folk Singing Styles ................................................ 42 3.8 Chanllenges for Khöömii Singers ......................................................................... 43 3.9 Comparison of the Two Different Recording Versions ......................................... 45 CHAPTER 4. CONCLUSION...................................................................................................... 47 APPENDIX A. MONGOLIAN PRONUNCIATION GUIDE...................................................... 49 APPENDIX B. IPA AND SENTENCE-FOR-SENTENCE TRANSLATION ............................. 51 APPENDIX C. WORD-FOR-WORD TRANSLATION .............................................................. 53 APPENDIX D. INTERVIEW TRANSCRIPT A-CREATION BACKGROUND ........................ 56 APPENDIX E. INTERVIEW TRANSCRIPT B- PERFORMANCE GUIDE ............................. 59 APPENDIX F. VIDEO LINKS OF THE INTERVIEWS ............................................................. 63 BIBLIOGRAPHY ......................................................................................................................... 65 v LIST OF TABLES AND FIGURES Page Tables Table 2.1. Se Enkhbayar’s Selected Choral Works ...................................................................... 10 Table 3.1 The Music Structure of Önchin Botog .......................................................................... 29 Table 3.2. The Music Structure and
Load more

Recommended publications
  • SEM 63 Annual Meeting
    SEM 63rd Annual Meeting Society for Ethnomusicology 63rd Annual Meeting, 2018 Individual Presentation Abstracts SEM 2018 Abstracts Book – Note to Reader The SEM 2018 Abstracts Book is divided into two sections: 1) Individual Presentations, and 2) Organized Sessions. Individual Presentation abstracts are alphabetized by the presenter’s last name, while Organized Session abstracts are alphabetized by the session chair’s last name. Note that Organized Sessions are designated in the Program Book as “Panel,” “Roundtable,” or “Workshop.” Sessions designated as “Paper Session” do not have a session abstract. To determine the time and location of an Individual Presentation, consult the index of participants at the back of the Program Book. To determine the time and location of an Organized Session, see the session number (e.g., 1A) in the Abstracts Book and consult the program in the Program Book. Individual Presentation Abstracts Pages 1 – 76 Organized Session Abstracts Pages 77 – 90 Society for Ethnomusicology 63rd Annual Meeting, 2018 Individual Presentation Abstracts Ethiopian Reggae Artists Negotiating Proximity to Repatriated Rastafari American Dreams: Porgy and Bess, Roberto Leydi, and the Birth of Italian David Aarons, University of North Carolina, Greensboro Ethnomusicology Siel Agugliaro, University of Pennsylvania Although a growing number of Ethiopians have embraced reggae music since the late 1990s, many remain cautious about being too closely connected to the This paper puts in conversation two apparently irreconcilable worlds. The first is repatriated Rastafari community in Ethiopia whose members promote themselves that of George Gershwin’s Porgy and Bess (1935), a "folk opera" reminiscent of as reggae ambassadors. Since the 1960s, Rastafari from Jamaica and other black minstrelsy racial stereotypes, and indebted to the Romantic conception of countries have been migrating (‘repatriating’) to and settling in Ethiopia, believing Volk as it had been applied to the U.S.
    [Show full text]
  • Norovbanzad's Legacy: Contemporary Concert Long Song in Mongolia Gabrielle Giron
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Norovbanzad's Legacy: Contemporary Concert Long Song in Mongolia Gabrielle Giron Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC NOROVBANZAD’S LEGACY: CONTEMPORARY CONCERT LONG SONG IN MONGOLIA By Gabrielle Giron A Thesis submitted to the College of Music In partial fulfillment of the Requirements for the degree of Master of Music Degree awarded Fall Semester 2007 Copyright © 2007 Gabrielle C. Giron All Rights Reserved The members of the Committee approve the thesis of Gabrielle Giron defended on August 22, 2007. __________________________________ Michael B. Bakan Professor Directing Thesis __________________________________ Jane Piper Clendinning Outside Committee Member __________________________________ Denise Von Glahn Committee Member __________________________________ Frank Gunderson Committee Member Approved: _______________________________________________ Jeffrey T. Kite-Powell, Professor and Chair, Department of Musicology ________________________________________________ Seth Beckman, Professor, Assistant Dean for Academic Affairs, and Director of Graduate Studies. The Office of Graduate Studies has verified and approved the above named committee members ii Figure 1. The Gentle Sun of the World. Mongolian artist Naiga renders in Mongolian calligraphy the text from Norovbanzad’s song in the shape of a sun. iii In memory of Marian Davis whose love for peace, justice, and beautiful music continues to light the world. iv ACKNOWLEDGEMENTS Many people have assisted me in the exciting process of learning and writing about concert long song. While it would be impossible to name everyone who has contributed to this thesis, there are several people I would like to mention specifically.
    [Show full text]
  • List of the 90 Masterpieces of the Oral and Intangible Heritage
    Albania • Albanian Folk Iso-Polyphony (2005) Algeria • The Ahellil of Gourara (2005) Armenia • The Duduk and its Music (2005) Azerbaijan • Azerbaijani Mugham (2003) List of the 90 Masterpieces Bangladesh • Baul Songs (2005) of the Oral and Belgium • The Carnival of Binche (2003) Intangible Belgium, France Heritage of • Processional Giants and Dragons in Belgium and Humanity France (2005) proclaimed Belize, Guatemala, by UNESCO Honduras, Nicaragua • Language, Dance and Music of the Garifuna (2001) Benin, Nigeria and Tog o • The Oral Heritage of Gelede (2001) Bhutan • The Mask Dance of the Drums from Drametse (2005) Bolivia • The Carnival Oruro (2001) • The Andean Cosmovision of the Kallawaya (2003) Brazil • Oral and Graphic Expressions of the Wajapi (2003) • The Samba de Roda of Recôncavo of Bahia (2005) Bulgaria • The Bistritsa Babi – Archaic Polyphony, Dances and Rituals from the Shoplouk Region (2003) Cambodia • The Royal Ballet of Cambodia (2003) • Sbek Thom, Khmer Shadow Theatre (2005) Central African Republic • The Polyphonic Singing of the Aka Pygmies of Central Africa (2003) China • Kun Qu Opera (2001) • The Guqin and its Music (2003) • The Uyghur Muqam of Xinjiang (2005) Colombia • The Carnival of Barranquilla (2003) • The Cultural Space of Palenque de San Basilio (2005) Costa Rica • Oxherding and Oxcart Traditions in Costa Rica (2005) Côte d’Ivoire • The Gbofe of Afounkaha - the Music of the Transverse Trumps of the Tagbana Community (2001) Cuba • La Tumba Francesa (2003) Czech Republic • Slovácko Verbunk, Recruit Dances (2005)
    [Show full text]
  • JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary
    JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary Chinese Composer Zhou Long’s Works for Solo Piano Mongolian Folk-Tune Variations, Wu Kui, and Pianogongs. (2014) Directed by Dr. Andrew Willis. 136 pp. Zhou Long is a Chinese American composer who strives to combine traditional Chinese musical techniques with modern Western compositional ideas. His three piano pieces, Mongolian Folk Tune Variations, Wu Kui, and Pianogongs each display his synthesis of Eastern and Western techniques. A brief cultural, social and political review of China throughout Zhou Long’s upbringing will provide readers with a historical perspective on the influence of Chinese culture on his works. Study of Mongolian Folk Tune Variations will reveal the composers early attempts at Western structure and harmonic ideas. Wu Kui provides evidence of the composer’s desire to integrate Chinese cultural ideas with modern and dissonant harmony. Finally, the analysis of Pianogongs will provide historical context to the use of traditional Chinese percussion instruments and his integration of these instruments with the piano. Zhou Long comes from an important generation of Chinese composers including, Chen Yi and Tan Dun, that were able to leave China achieve great success with the combination of Eastern and Western ideas. This study will deepen the readers’ understanding of the Chinese cultural influences in Zhou Long’s piano compositions. CHINESE AND WESTERN ELEMENTS IN CONTEMPORARY CHINESE COMPOSER ZHOU LONG’S WORKS FOR SOLO PIANO MONGOLIAN FOLK-TUNE VARIATIONS, WU KUI, AND PIANOGONGS by Wei Jiao A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2014 Approved by _________________________________ Committee Chair © 2014 Wei Jiao APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
    [Show full text]
  • Mongolian Folklore Expressed Through Music Technology Original Multimedia Soundtrack on Horseback Xinlei Chu
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2014 Mongolian Folklore Expressed through Music Technology Original Multimedia Soundtrack on Horseback Xinlei Chu Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Chu, X. (2014). Mongolian Folklore Expressed through Music Technology Original Multimedia Soundtrack on Horseback (Master's thesis, Duquesne University). Retrieved from https://dsc.duq.edu/etd/406 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. MONGOLIAN FOLKLORE EXPRESSED THROUGH MUSIC TECHNOLOGY ORIGINAL MULTIMEDIA SOUNDTRACK ON HORSEBACK A Thesis Submitted to the Graduate Division of the Mary Pappert School of Music Duquesne University In partial fulfillment of the requirements for the degree of Master of Music in Music Technology By Xinlei Chu May 2014 Copyright by Xinlei Chu 2014 MONGOLIAN FOLKLORE EXPRESSED THROUGH MUSIC TECHNOLOGY ORIGINAL MULTIMEDIA SOUNDTRACK ON HORSEBACK By Xinlei Chu Approved April 11, 2014 ________________________________ ________________________________ Lynn Emberg Purse Judith Bowman, Ph.D Associate Professor of Music Technology Professor of Music Education & Music Area Chair of Electronic Composition Technology (Committee Chair) (Committee Member) ________________________________
    [Show full text]
  • Lecture 1.3 Intangible Cultural Heritage CHAU Hing-Wah
    Lecture 1.3 Intangible Cultural Heritage CHAU Hing-wah 1 Lecture 1.3 Intangible Cultural Heritage Lecture Outline Safeguarding of the Intangible Cultural Heritage: International Perspective International co-operation in preserving cultural heritage commenced in the 1930s. After years of discussion, the United Nations adopted a number of recommendations and declarations on the protection of Intangible Cultural Heritage (ICH) in the 1990s with extensive support from countries all round the world. In 2003, UNESCO adopted the Convention for the Safeguarding of the Intangible Cultural Heritage which promulgated the “Representative List of the Intangible Cultural Heritage of Humanity”. States Parties of the Convention then started to hold meetings to discuss the way forward in the safeguarding of ICH. z 1972. “Convention Concerning the Protection of the World Cultural and Natural Heritage”（《保護世界文化和自然遺產公約》）aims at preserving cultural heritage with outstanding universal value. z To counter balance the globalization. z 1989. “Recommendation for the Safeguarding of Traditional Culture and Folklore”（《保 護傳統文化和民俗建議書》） z 1992. UNESCO advocated “Cultural Rights” in which ethnic minorities have the right to develop their own cultures. z 1998. UNESCO launched the programme of Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity.（人類口頭及非物質遺產傑作宣言）。 z Nov 2001. “Universal Declaration on Cultural Diversity” of UNESCO（《世界文化多樣 性宣言》） z May 2001. First Proclamation of 19 Masterpieces of the Oral and Intangible Heritage of Humanity. z 2003, 2005. Second and third proclamation of masterpieces. z Masterpieces in China: Kun Qu Opera, the Guqin and its music, the Uyghur Muqam of Xinjiang and the Traditional Folk Long Song Urtiin Duu (together with Mongolia).
    [Show full text]
  • Contemporary Music Culture of Mongolian Nomads and Opportunities for Contextualization
    Scholars Crossing Masters Theses Center for Music and Worship 5-2008 Moving Melodies: Contemporary Music Culture of Mongolian Nomads and Opportunities for Contextualization Erica Marin Logan Bethel University Follow this and additional works at: https://digitalcommons.liberty.edu/ethno_master Recommended Citation Logan, Erica Marin, "Moving Melodies: Contemporary Music Culture of Mongolian Nomads and Opportunities for Contextualization" (2008). Masters Theses. 2. https://digitalcommons.liberty.edu/ethno_master/2 This Article is brought to you for free and open access by the Center for Music and Worship at Scholars Crossing. It has been accepted for inclusion in Masters Theses by an authorized administrator of Scholars Crossing. For more information, please contact [email protected]. MOVING MELODIES: CONTEMPORARY MUSIC CULTURE OF MONGOLIAN NOMADS AND OPPORTUNITIES FOR CONTEXTUALIZATION A MASTER'S THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE CENTER FOR GRADUATE AND CONTINUING STUDIES BETHEL UNIVERSITY BY ERICA MARIN LOGAN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY MAY 2008 Copyright June 2008 by Erica Logan BETHEL UNIVERSITY MOVING MELODIES: CONTEMPORARY MUSIC CULTURE OF MONGOLIAN NOMADS AND OPPORTUNITIES FOR CONTEXTUALIZATION ERICA MARIN LOGAN MAY 2008 Approved: , Thesis (Project) Advisor ACCEPTED ________________________________ Program Director ________________________________ Dean of Graduate Studies ABSTRACT There are many obstacles to sharing Christ with nomadic peoples. Obstacles include distance of travel from one family group to another, the mobility of these family groups, the finances and investment to locate the families every season, the lack of fellowship and discipleship materials for those that do become Believers, and the peer pressure that these Believers face in the midst of this lack.
    [Show full text]
  • Anda Union.Pdf
    Study Guide China: Anda Union About the Artists Anda Union is a band of performers with roots in different ethnic Mongolian tribes from across Inner Mongolia. Each performer was trained in traditional Mongolian music from a young age, and they are part of a musical movement that is finding inspiration in old and forgotten songs. As “music gatherers,” Anda Union brings together ancient Mongolian music and traditions that had all but disappeared from modern life. They are on a mission to stimulate their culture and reengage young Mongols, many of whom no longer speak the language of their heritage. Inner Mongolia Inner Mongolia is not Mongolia. Inner Mongolia is an autonomous region in northern China and one of the largest provinces in China. The province Anda Union in the grasslands of Inner Mongolia. has its own local government in the capital city Hohhot, where Anda Photo by Delger. Union was formed. Mongolia is an independent country that borders China on the south and Russia on the north. However, many of the cultural traditions and music presented by Anda Union come from a time long before these borders existed. Inner Mongolia has a population of nearly 3 million people, most of whom connect strongly to the history and culture of Mongolia. In fact, signs for businesses and roads in Inner Mongolia must include both Chinese and Traditional Mongolian writing. Hills, rivers, lakes, deserts, and grasslands appear in various shapes and sizes throughout Inner Mongolia’s rugged landscape. Its forest area is the second largest in China. Inner Mongolia’s climate is as diverse as its landscape.
    [Show full text]
  • SEM 61 Annual Meeting
    SEM 61st Annual Meeting November 10 – 13, 2016 Washington, D.C. Hosted by Smithsonian Folkway Recordings and The George Washington University Society for Ethnomusicology 61st Annual Meeting, 2016 Individual Presentation and Organized Panel Abstracts SEM 2016 Abstracts Book – Note to Reader The SEM 2016 Abstracts Book is divided into two sections: 1) Individual Presentations, and 2) Organized Sessions. Individual Presentation abstracts are alphabetized by the presenter’s last name, while Organized Session abstracts are alphabetized by the session title. Note that Organized Sessions are designated in the Program Book as “Panel,” “Roundtable,” or “Workshop.” Sessions designated as “Paper Session” or “Mixed Session” do not have a session abstract. To determine the time and location of an Individual Presentation, consult the index of participants at the back of the Program Book. To determine the time and location of an Organized Session, see the session number (e.g., 1A) in the Abstracts Book and consult the program in the Program Book. Individual Presentation Abstracts Pages 1 – 97 Organized Session Abstracts Pages 98 – 118 0 Society for Ethnomusicology 61st Annual Meeting, 2016 Individual Presentation Abstracts David Aarons, University of Washington limitations of Jinta-la-Mvta’s “protest music” by exploring these two modes of Making Reggae Ethiopian: Strategies for Mass Appeal and Sonic socialities produced through sonic responses to the nuclear crisis. I suggest Essences of Ethiopianness that Jinta-la-Mvta evince social precarity not merely
    [Show full text]
  • Urtiin Duu: Performing Musical Landscapes and the Mongolian Nation
    URTIIN DUU: PERFORMING MUSICAL LANDSCAPES AND THE MONGOLIAN NATION BY LILIANA CARRIZO THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana‐Champaign, 2010 Urbana, Illinois Master’s Committee: Donna A. Buchanan, Associate Professor Gabriel Solis, Associate Professor ABSTRACT Urtiin duu, or Mongolian long song, is a vocal genre prevalent throughout Mongolia and especially common among mobile pastoralists of the central Gobi steppe. Based on fieldwork conducted in 2001, 2004, and 2006 in Dundgovi province and Ulaanbaatar, this thesis focuses on urtiin duu as a marker of regional and national identity. Urtiin duu signify various levels of meaning for performers and listeners alike. Through the mimesis of landscape topography in melodic contour, these songs have become powerful emblems of clan identity important to Chinggis Khan’s legacy. Their melodic contours allude to landscape deities, or ezen, associated with particular geographical formations and regional topographies, and their texts often praise important Tibetan Buddhist deities or monks. A musical tool utilized in efforts to calm and soothe livestock, these songs also form an important component of various mobile pastoral herding practices. During Mongolia’s socialist era (1921–1990), however, urtiin duu were invariably implicated in processes of cultural modernization and reform, during which time the genre’s performance context and associated meanings were largely transformed. Although these songs continued to be performed in the domestic sphere, they were also increasingly performed at large, staged gatherings in support of the Mongolia People’s Republic and Communist Party.
    [Show full text]
  • List of Intangible Cultural Heritage in Need of Urgent Safeguarding 2010 2011
    List of intangibLe CuLturaL Heritage in need of Urgent SafegUarding 2010 2011 List of intangibLe CuLturaL Heritage in need of Urgent SafegUarding 2010 2011 foreword IRINA BOKoVa direCtor-generaL of UNESCo avassard r /Michel o SC NE © U Our intangible cultural heritage is a bridge linking our past and our future. It is the way we understand the world and the means by which we shape it. It is rooted in our cultural identities and provides a foundation of wisdom and knowledge upon which to build sustainable development for all. Intangible cultural heritage is a precious asset for communities, groups and individuals across the world. Only they can safeguard it and pass it on to tomorrow’s gen- erations. The responsibility of international organizations and governments is to support these efforts in every way possible. This is the role of UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage, which provides a unique opportunity to dis- cover and sustain living cultural expressions from across the world. The Convention serves as a tool for social cohesion and also helps to guide us in implementing practices that are vital for achieving the Millennium Develop- ment Goals. The objectives of the Convention are clear: intangible cultural heritage should promote mutual respect among communities; it should support human, social and economic development; and it should be compatible with human rights. More than 140 States have rallied around these goals. We also know that intangible cultural heritage is vulnerable to the pressures of change. This makes safeguarding all the more vital. 2 LiSt of intangibLe CultUraL Heritage in need of Urgent SafegUarding The fifth and sixth sessions of the Intergovernmental Committee for the the Convention Safeguarding of the Intangible Cultural Heritage were held in Nairobi serves as a tool (November 2010) and Bali (November 2011).
    [Show full text]
  • Folk Music Group)
    Tenger Ayalguu ( Folk Music Group) Mongolians are guardians of one of the richest and earliest known folklore in the world. Stories of the origin and inception of its traditional folklore, song and dance have been long recorded in ancient scripts and historical acounts. Mongolian lifestyles, its traditions and customs as well as natural environment and code of conducts have shaped its rich musical heritage. A group of dedicated artists who wish to preserve these traditional forms of precious art founded the ethnic music band “Tenger Ayalguu” in 1997. Literally meaning Sky Melody, “Tenger Ayalguu” has a repertoire that includes traditional dances, songs as well as international folklore. All members are educated and graduated from the Musical College of Ulaanbaatar and the Mongolian State University of Art and Culture. Aside from their performing career, they also hold fulltime teaching and lecturing positions at various musical institutions across the country. Tenger Ayalguu has performed to a wife range of audiences including various government dignitaries, ambassadors, members of international corporations as well as leisure travelers visiting Mongolia from all five continents. During any of its performance, audiences get a chance to immerse into traditional Mongolian short and long songs about the grassland, romance and loved ones as well as dances, praise songs, and the “throat” or khoomii singing and enjoy the amazing acrobats of contortionists. The band is also open to various professional collaborations in the field of research, trainings and various commercial undertakings. Limbe (Flute): This flute is one example of the precious cultural heritage of Central Asian nomadic people living under the eternal blue sky.
    [Show full text]