Relevant bibliographies by topics / Mongolian Folk music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Conference papers

Academic literature on the topic 'Mongolian Folk music'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Mongolian Folk music"

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Wang, Wei, Pitsanu Boonsrianan, and Sayam Chuangprakhon. "Music Literacy in the Preservation of Inner Mongolian Wedding Folk Songs." International Journal of Education and Literacy Studies 13, no. 1 (2025): 104–11. https://doi.org/10.7575/aiac.ijels.v.13n.1p.104.

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Inner Mongolian wedding folk songs are vital to the region’s intangible cultural heritage, reflecting the Mongolian people’s history, values, and traditions. This study investigates music literacy in the preservation of Inner Mongolian wedding folk songs. Utilizing a qualitative ethnographic approach, the research focuses on the Inner Mongolia Autonomous Region, examining the integration of wedding folk songs into educational curricula to ensure their survival amidst globalization and urbanization. Data were collected through interviews with three key informants: scholars, folk musicians, and
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Wu, Jiayu, Cheong Jan Chan, and Julia Chin Yee Chieng. "The Innovation of Mongolian Folk Song Music Cultural Inheritance Path Based on Intelligent Computing Analysis of Communication Big Data." Security and Communication Networks 2022 (April 11, 2022): 1–13. http://dx.doi.org/10.1155/2022/5752751.

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Cultural inheritance and innovation is an important measure to enhance the vitality of traditional culture and realize the sharing of national culture. Mongolian folk music, as an important part of Chinese cultural resources, plays an irreplaceable role in inheriting Mongolian culture. How to better inherit the music culture of ethnic minorities has been a hot topic in the music education circle in recent years. However, when we focus on the campus inheritance of ethnic minority music, we have to pay attention to the original living space of ethnic minority music and its unique local inheritan
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Sun, Peixin, and Phiphat Sornyai. "Mongolian Folk Songs: Integrating Traditional Music into Contemporary Literacy." International Journal of Education and Literacy Studies 13, no. 2 (2025): 19–26. https://doi.org/10.7575/aiac.ijels.v.13n.2p.19.

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This study investigates the effectiveness of integrating Mongolian folk songs into contemporary literacy practices, focusing on enhancing student engagement and literacy development. By employing ethnographic methods, the research explores the effectiveness of using traditional music to foster cultural awareness and improve literacy skills among students in Hohhot, Inner Mongolia Autonomous Region, China. The study involves 15 key informants, including educators, students, and cultural experts, providing a comprehensive perspective on this integration's pedagogical strategies and outcomes. Fin
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Bao, Wenni. "The Relationship between Tu Nationality and Mongolia from the Characteristics of Folk Songs." International Journal of Education and Humanities 17, no. 2 (2024): 322–24. https://doi.org/10.54097/66dcg255.

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The long historical connection between the Tu nationality and the Mongol nationality is not only reflected in oral legends and documentary records, but also deeply reflected in their music culture. This paper deeply probes into the inheritance of the music characteristics of Mongolian folk songs, and reveals the deep connection between the two nationalities through the analysis of folk songs. Through the investigation of the use of Mongolian words, rhythm and melody development techniques in Tu folk songs, it clearly shows the absorption and retention of Tu folk song culture to Mongolian music
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Ge, Gen, and Sungkyoo Hong. "Analysis of Lyrics of Mongolian Traditional Songs in Modern China." Korean Society of Culture and Convergence 44, no. 5 (2022): 407–40. http://dx.doi.org/10.33645/cnc.2022.5.44.5.407.

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This study sorted out the trend and theme classification of the modernization of Mongolian traditional music in Inner Mongolia, China, and investigated the literary characteristics of the modernization of Mongolian traditional music through the analysis of the lyrics of the selected representative songs of each theme. For this reason, this study refers to the academic literature related to Mongolian music at home and abroad, as well as the works collection of in the modernization of Mongolian traditional music such as “Inner Mongolia folk songs and folk songs” and “grassland new songs”. Based
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6

Xing, Nian, and Weerayut Seekhunlio. "Literacy Transmission for the Tuba Playing Techniques of the Chinese Folk Song "Ga Da Mei Lin"." International Journal of Education and Literacy Studies 13, no. 2 (2025): 74–80. https://doi.org/10.7575/aiac.ijels.v.13n.2p.74.

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By exploring the literacy transmission practices to perform Mongolian music on the tuba, this study aims to provide insight into part of the process of adapting a traditional folk song, Ga Da Mei Lin, of China, for tuba performance. It explores the ways Mongolian long-song techniques like breath control, glissando, and rhythmic flexibility are translated through the tuba by situating their study within an ethnomusicological framework that considers the integration of oral tradition and musical literacy. The study underscores the necessity of a dual approach of oral transmission and notation-ba
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Liu, Yunpeng. "Cavity Relationships and Melodic Patterns of Ordos "Guru Songs"." Highlights in Art and Design 4, no. 2 (2023): 58–61. http://dx.doi.org/10.54097/hiaad.v4i2.12603.

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Ordos has an ancient traditional folk music culture with unique regional colours. In this characteristic regional folk music culture, the ancient customs of Mongolian people have been well preserved. Especially in the aspect of music, it shows the regional cultural characteristics which are obviously different from other Mongolian regions. Ordos people have preserved the music culture with ceremonial characteristics for a long time, and radiated it to the folk soil, forming the unique Ordos folk music culture nowadays. Ordos music culture represented by court "Gu Ru Ge" is national intangible
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Zhou, Xiangdong, and Jing Deng. "Research on Ethnic Culture Presentation of Inner Mongolian Film from Multiple Perspectives." Highlights in Art and Design 1, no. 2 (2022): 90–93. http://dx.doi.org/10.54097/hiaad.v1i2.2245.

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In Inner Mongolian films, heterogeneous culture is not a symbol of consumption to the West/others, but an important medium to explore the true meaning of the national culture. The analysis of Inner Mongolian films from the perspective of landscape aesthetics can give insight into the most distinctive features of The Times. This paper holds that, in terms of story text, Inner Mongolian films is breathing with The Times and sharing the fate with the motherland, constantly reflecting the living conditions of Inner Mongolia people in the great era. In terms of music application, Inner Mongolian fi
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9

An, Nari. "The fusion of Nei Mongol music and pop music." Transactions on Social Science, Education and Humanities Research 10 (August 29, 2024): 101–7. http://dx.doi.org/10.62051/tc0hdx23.

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With the dissemination and development of diversified pop music, Chinese traditional music has been skillfully fused with it. Music creators combine Nei Mongol traditional music elements with pop music elements, or integrate pop music elements into traditional Mongolian songs, enabling Mongolian music to introduce new ideas and step onto the international stage constantly. Taking the Nine Treasures as an example, a folk metal band singing in Mongolian, this paper studies the creation and adaptation of its music. This paper analyzes how it combines pop music elements such as heavy metal with tr
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Baatarnaran, Tsetsentsolmon. "The Features of Musical Folklore in Mongolian Shamanic Chanting." Inner Asia 9, no. 1 (2007): 109–17. http://dx.doi.org/10.1163/146481707793646601.

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AbstractThis paper explores the specific features of musical folklore in Mongolian Shamanic tradition through the four essential features of folk art works, selectivity, existence, continuity and complexity. Adopting the systematic theory of Mongolian folklore including folk music which was developed by Jamtsyn Badraa, Mongolian folklorist, on the basis of Indian philosopher Nagarjuna’s Eightfold Negation, the author examines the chanting ways (formation or improvisation), functions (non- or multifunctional), learning process (transmission), and authorship (collectivity and individuality) of M
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Dissertations / Theses on the topic "Mongolian Folk music"

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Shao, Luyin. "A STUDY OF ACCULTURATION IN CHINESE-MONGOLIAN ER’RENTAI FOLK OPERA." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/94.

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Er’rentai, or Mongolian dance and song duets, is a genre of folk opera in the Inner Mongolian Autonomous Region. Er’rentai performances can be categorized into two styles—the “western-style” and the “eastern-style.” The aim of this thesis is to explore the acculturation in Chinese-Mongolian er’rentai genre in the following ways. First, I address the historical background of the western-style er’rentai. Then, I draw on fieldwork with Huo Banzhu, a famous er’rentai musician, to introduce contemporary state of er’rentai's development. Finally, I employ musical analysis to demonstrate the borrowin
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Gibbs, Levi Samuel. "Beyond the Western Pass: Emotions and Songs of Separation in Northern China." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248745393.

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Books on the topic "Mongolian Folk music"

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Ȯlziĭ, D. Tuulʹ, erȯȯl, magtaal. "Mȯnkhiĭn U̇sėg" KhKhK, 2003.

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2

Dolgorsu̇rėn, G. Mongol ardyn bu̇zhgiĭn dasgaluud. Ulsyn Khėvlėliĭn Gazar, 1985.

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Dorvolzhingiĭn, Oiu︡unt︠s︡ét︠s︡ég. Genezis i évoli︠ut︠s︡ii︠a︡ mongol'skogo vokal'no-poéticheskogo zhanra urtyn-duu. Admon, 2006.

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4

T, Gun-Aazhav, Oiu︡͠unbat R, and Navchaa TS︡͠, eds. Mongol ardyn duu =: Mongġol arad-un daġuu. [s.n.], 2003.

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5

Bai, Fengxiang. Menggu Zhen Dong Meng duan diao min ge. Liaoning min zu chu ban she, 2012.

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Zhongguo min jian wen xue ji cheng Nei Menggu fen juan bian wei hui., ed. Mongġol arad-un daġuu-yin ciġulġan: Dumdadu Ulus-un Arad-un daġuu-yin ciġulġan-u Ȯbȯr Mongġol boti. Ȯbȯr Mongġol-un Soyol-un Keblel-u̇n Qoriy-a, 1992.

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Ȯlzii, D. Tuulʹ, erȯȯl, magtaal. "Mȯnkhiĭn U̇sėg" KhKhK, 2003.

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Zhao, Hongrou. Cai hong: Hulunbei'er min ge chuang zuo ge qu 60 shou. Min zu chu ban she, 1993.

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9

Battulga, Togmidyn. Zakhchin ardyn urtyn duu, duulaachid. [s.n.], 2004.

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10

Park, Sohyun. Sin ŭl purŭnŭn norae: Monggol ŭi tʻool = Mongolian epic song, Tuulʾ. Minsokwŏn, 2005.

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Conference papers on the topic "Mongolian Folk music"

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Asalkhanova, Ekaterina V. "MONGOLIAN CHESS, DOMINO, FOLK PAINTINGS (PLAYING CARDS, CALENDARS) AS AN UNIQUE EXPRESSION OF TRADITIONAL CULTURE." In 32nd International Congress on Source Studies and Historiography of Asia and Africa “Russia and the East. Сommemorating 300th anniversary of St. Petersburg State University. St. Petersburg State University, 2024. http://dx.doi.org/10.21638/11701/9785288064135.20.

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The article deals with folk games, which have become widespread in Mongolia, Buryatia, Tuva, Kalmykia: national chess shatar, dominoes (chorlo, chorol), drawn playing cards (khozor, uichuur), calendars. A brief history of their origin, the rules of the game, as well as the peculiarities of manufacturing technology, composition and artistic solution are studied. Everyday life is reflected in the games. Images of animals testify to the observation of folk artists, their knowledge of animal habits. Games are an original expression of folk culture, true works of art. They give an idea of the Mongo
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