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Journal articles on the topic 'Mongolian Folk music'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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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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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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Liu, Keling. "The Soul of Ethnic Music: The Mongolian Ethnic Song "Hongyan" as an Example." Highlights in Art and Design 4, no. 2 (2023): 7–8. http://dx.doi.org/10.54097/hiaad.v4i2.12183.

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In the era of new media, Chinese film music presents a diversified development situation, and in Chinese film music, the element of ethnic music is an important part that cannot be ignored, and it has an important influence on the development of Chinese film music. The article mainly starts from the content and role of film music, specifically analyses the application of folk music in Chinese film music, and explores the three major elements of folk music, namely, musical instruments, folk songs and operas, and at the same time, takes the Mongolian song "The Wild Geese" as an example, and focu

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Han, Yuchen, and Lin Zhang. "Historical Evolution and Cultural Identity of National Dance: Taking Andai Dance as the Research Object." Herança 7, no. 1 (2023): 165–76. http://dx.doi.org/10.52152/heranca.v7i1.829.

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The Andai Dance is a traditional folk dance that spreads in the Horqin area of Inner Mongolia. It has strong local and national characteristics, and the dance style is passionate and generous, fully expressing the true feelings of the Mongolian people. It is a form of expression of national folk art integrated with singing and dancing performance and music singing. This paper profoundly explores and studies the inheritance and development of Mongolian Andai Dance in Horqin Grassland, including the form and characteristics of traditional Andai Dance. Understand the evolution of the movement and

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Chen, Yao, Ahmad Hisham Bin Zainal Abidin, and Syamsul Hirdi Muhid. "Study on the protection of Mongolian Chor music as cultural heritage in Northern China." Edelweiss Applied Science and Technology 8, no. 5 (2024): 1124–35. http://dx.doi.org/10.55214/25768484.v8i5.1815.

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The Mongolians in northern China have a vast distribution and a long history. Chor music is the cultural heritage of Mongolian in the north. After the rise of "Intangible Cultural Heritage upsurge" in the 21st century, scholars and folk artists rose to protect it and there were successively studies on Chor music theory, Chor music form and Chor historical evolution. However, scholars only focus on the research on the origin, classification, evolution and protection of Chor music, while the research on the relationship between Chor music and modern culture, summarizing that Chor music can be wi

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Yang, Jiajun, and Rui Huang. "A Research on the Morphological Characteristics of Tonghai Mongolian Folk Music." Ethnic Arts Studies 29, no. 2 (2016): 215–21. http://dx.doi.org/10.21004/issn.1003-840x.2016.02.215.

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Sarula, Guo. "A Study of Folk Dance Learning by University Students." Lavai - International Journal of Education 20, no. 31 (2024): 2–11. https://doi.org/10.5564/lavai.v20i31.3871.

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In the folk dance traditions of every country in the world, there is a dance language and artistic expressions that express the characteristics of the nation. Dance is expressed through emotional movement using dance techniques. University dance teaching methods have a great impact on the quality and level of dance education. The article will present the results of an experimental study of a method of supporting students' folk dance learning. A total of 60 students studying dance at the Hulunbuir University of Inner Mongolia Autonomous Region, China, and the School of Dance Arts of the Mongoli

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王, 建科. "Protection and inheritance of folk music from the perspective of intangible cultural heritage: Taking "Mongolian long tune" as an example." International Theory and Practice in Humanities and Social Sciences 2, no. 4 (2025): 357–67. https://doi.org/10.70693/itphss.v2i4.472.

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As an important representative of Mongolian folk music, Mongolian long song is known as the "soul of the grassland". It shows the unique cultural connotation and lifestyle of the Mongolian people with its long melody, free rhythm and rich emotional expression. In 2005, Mongolian long song was listed in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO. However, the impact of modernization, urbanization and popular culture has made it face many challenges such as the reduction of the inheriting population, the change of cultural environment and the lack of econom

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Luvsanbaldan, Odontuya, and Munkhtuya Buyandelger. "CULTURAL RELATIONS BETWEEN MONGOLIA AND CHINA ON THE EXAMPLE OF SONGS." Mongolian Diaspora. Journal of Mongolian History and Culture 2, no. 1 (2022): 143–60. http://dx.doi.org/10.1515/modi-2022-020109.

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Summary Despite its long history as neighbors, the history of Mongolian-Chinese cultural relations, which at one time ignored each other and at other times advanced and cooperated with each other, covers a wide range of issues. We live in a time when war and peace are being resolved positively on the basis of mutual understanding and agreement between nations, and trade, economic and cultural relations are expanding globalization. The article explores the traditional relationship between Mongolian and Chinese music will not only improve the history of cultural relations between the two countri

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Lin, Kang. "Folk songs in the content of general music education in China." Science and School, no. 5 (October 29, 2023): 203–10. http://dx.doi.org/10.31862/1819-463x-2023-5-203-210.

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The article is devoted to the problem of increasing the role of folk songs in the content of general musical education. This problem is relevant not only for China, but also for Russia. It is connected with the tasks of the modern state educational and cultural policy of these countries, aimed at educating the younger generations in the context of their own national and cultural traditions and spiritual and moral values. The purpose of the article is to reveal the role of Chinese folk songs in the content of modern general musical education in China. The article reveals certain aspects of the

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Sipos, János. "A lament from Bartók's anatolian collection and its musical background." Studia Musicologica 48, no. 1-2 (2007): 201–13. http://dx.doi.org/10.1556/smus.48.2007.1-2.13.

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Abstract Bartók collected folk music in Turkey in 1936, and his Turkish collection was published in 1976 almost simultaneously in Hungary and America, and in 1991 in Turkey. How Bartók's conclusions stand the test in the light of an examination on a larger Turkish material? I investigated this question in four of my books, and the detailed analysis points way beyond the scope of the present paper. This time I deal with a single melody, the No. 51 lament of Bartók's collection and with its larger Anatolian, Hungarian and other musical background. Can this melody be an important link between Hun

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Erjian, Ma, and Sayam Chuangprakhon. "Transmission of Yugu Folk Song Knowledge in Sunan County, Gansu Province, China." International Education Studies 16, no. 3 (2023): 43. http://dx.doi.org/10.5539/ies.v16n3p43.

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The qualitative research method is used in this study to investigate ways to transmit Yugu folk song knowledge in Sunan County, Gansu Province, China. The area was selected in Sunan County, Gansu Province, China. The fieldwork method is mainly used for collecting data, together with the information from the document. The study results are as follows: The origins of the Yugu people are not single but multiple. They are a new ethnic community formed by the integration of the ancient Uighurs and the ancient Mongolian tribes. The Yugu people are currently the best-preserved ethnic group in the wor

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Munkhjargal, Amarjargal. "Analysis of the field practice training process of the “National Folk Art” program." Mongolian Journal of Arts and Culture 25, no. 49 (2024): 226–40. https://doi.org/10.69561/mjac.v25i49.3844.

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This study reports the results of field study and experiments that are part of the modern training of Mongolian music. The main goal is to observe the process and clarify the impact of field study and categorizes and documents the sequence and process of exercises carried out under the guidance of B.Odsuren during the field training sessions, providing a detailed analysis of the pedagogical approaches within. To achieve this, we conducted direct observations of the field practice sessions involving bachelor and master level students enrolled in the “National Folk Art” program at the Mongolian

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HAN, WU RI. "Research on the Notation of Folk Urtiin Duu." Journal of Education and Educational Research 10, no. 3 (2024): 307–10. http://dx.doi.org/10.54097/zjktvq30.

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This paper deeply explores the notation of Mongolian folk Urtiin Duu, an intangible cultural heritage, and focuses on how to scientifically and rationally record their unique artistic characteristics. The study points out that the simplified notation has the advantages of being easy to learn and flexible in key changes, and is the preferred choice for notating folk Urtiin Duu. In view of the difficulty in recording the free rhythm of folk Urtiin Duu, a method of grouping a group of sound forms based on the combination of the internal rhythmic rhythm and speed changes is proposed to solve the p

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Bao, Xuelian. "Research on the Westernization of Morin Khuur Performance Art from an Eastern Cultural Perspective." Abstracts of Art 藝術學文摘 1, no. 1 (2025): 13. https://doi.org/10.63313/art.8003.

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The Morin Khuur, as a traditional musical instrument of the Mongolian ethnic group, carries profound cultural heritage. Its playing techniques and sound effects originate from the imitation of the natural environment and the perception of grassland life. With the advancement of the globalization process, the performance of the Morin Khuur has gradually been influenced by Western music, showing a trend of Westernization. From the perspective of Eastern culture, this article explores the Westernization process and influence of the Morin Khuur performance art, analyzes the opportunities and chall

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Sosor, Enkh-Amgalan. "Analysis of D.Darizav’s perporming technique of Shanz (shudarga)." Mongolian Journal of Arts and Culture 25, no. 48 (2024): 162–75. http://dx.doi.org/10.69561/mjac.v25i48.3629.

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It is still necessary to carry out an in-depth research on the traditional performance technique, style manner and luthiery on the Mongolian national musical instruments. Therefore, we intended to analyze and study the performing technique of the senior teacher Dalkhjav Darizav, shudarga player of the middle of the 20th century and to inform our study research. We have studied the records of the folk songs jointly performed by Darizav, yochin player G.Dashdavaa, honoured teacher of Mongolia, khuuchir player S.Tsevelmaa, honoured artist of Mongolia and, khuuchir player L.Baldan in the golden fu

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Drozhzhina, Marina Nikolaevna. "Tajik National Composer School: The Stage of Restoration and Identification of Development Paths." Pan-Art 3, no. 1 (2023): 21–31. http://dx.doi.org/10.30853/pa20230004.

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The aim of the research is to comprehend the cause-and-effect relationships and formulate conclusions about the prospects for the development of the Tajik national composer school. The paper presents the most difficult stage in the history of the Tajik national composer school, which was mainly due to the circumstances external to it, i.e. getting into the epicenter of the upheavals that engulfed the post-Soviet cultural space in the late XX century. It is determined that a balance of two types of musical professionalism – oral (traditional) and written (a composer’s) – is necessary for the de

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and Communication Networks, Security. "Retracted: The Innovation of Mongolian Folk Song Music Cultural Inheritance Path Based on Intelligent Computing Analysis of Communication Big Data." Security and Communication Networks 2023 (October 4, 2023): 1. http://dx.doi.org/10.1155/2023/9861763.

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Wang, Zhang. "Reflection of Mongolian musical culture in Liang Lei's String quartets." PHILHARMONICA. International Music Journal, no. 4 (April 2024): 60–75. https://doi.org/10.7256/2453-613x.2024.4.71132.

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The article is devoted to the identification of elements of the Mongolian musical tradition in the quartet work of the outstanding modern Chinese composer Liang Lei. The focus is on two quartets: "Serashi Fragments" (2005) and "Gobi Gloria" (2006), which found their artistic embodiment of the song folklore of the Mongols with its characteristic performance styles - urtyn-duu, bogino-duu, features of playing national instruments, primarily on the morin khura, a special the form of performance for two voices is chaoer. A special place in quartets is occupied by imitation of the sound of traditio

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Fujie, Linda, Tiago de Oliveira Pinto, and Hamburgisches Museum fur Volkerkunde. "Folk Music from Mongolia/Karakorum." Yearbook for Traditional Music 26 (1994): 193. http://dx.doi.org/10.2307/768275.

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Liu, Yongqing. "Analysis of Inner Mongolia Middle School Folk Music Culture Education." International Journal of Education and Humanities 4, no. 1 (2022): 9–11. http://dx.doi.org/10.54097/ijeh.v4i1.1151.

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In recent years, under the influence of foreign music culture, the emergence of ethnic music culture is becoming less and less, pop music accounts for a large proportion, which makes some students blindly pursue. As a result, more and more people of the young generation begin to follow pop singers, while their love for folk music is becoming less and less. The young students only knew pop singers and songs, and had little knowledge of folk music. They could not name several folk musicians or Musical Instruments. In addition, schools at all stages do not pay attention to folk music education an

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Munkhjargal, Amarjargal, Tsevegsuren Tserenbaljir, and Davaasuren Damdinsuren. "Characteristics of educator B.Odsuren’s teaching methods." Mongolian Journal of Arts and Culture 25, no. 48 (2024): 290–303. http://dx.doi.org/10.69561/mjac.v25i48.3645.

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This article aims to elucidate the fundamentals of B.Odsuren’s teaching methodology, the pioneer of classroom training in Mongolian khuumii. It delves into the distinctive features of his teaching approach and the guiding principles it entails. To achieve this objective, an emphasis is placed on tracing B. Odsuren’s journey in learning khuumii and his subsequent experience in imparting this skill to others. The article highlights that while the structured training plans and curricula of formal khuumii education adhere to a standardized framework, the traditional approach of “Apprenticeship” re

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Tsetsentsolmon, Baatarnarany. "Music in Cultural Construction." Inner Asia 17, no. 1 (2015): 118–40. http://dx.doi.org/10.1163/22105018-12340036.

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The paper aims to examine the concept of ‘national’ or ‘folk’ music within the state culture-building process in both the socialist and post-socialist eras in Mongolia. By focusing on process of nationalisation, commercialisation and popularisation, the paper argues that musical culture was and has been politicised in both eras. Furthermore, it argues that musical culture in post-socialist Mongolia can be regarded as the continuation, transformation and, in some cases, the amplification of the state-socialist culture-building process, designed to be ‘national in form and socialist in content’,

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Li, Jiaxun, and Sarawut Choatchamrat. "Educational Significance in the Preservation and Transmission of Chinese Folk Songs in Tongliao Province, Inner Mongolia Autonomous Region." International Journal of Sociologies and Anthropologies Science Reviews 4, no. 1 (2024): 323–32. http://dx.doi.org/10.60027/ijsasr.2024.3753.

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Background and Aim: Chinese folk songs, particularly those originating from the Horqin region in Tongliao Province, Inner Mongolia Autonomous Region, hold profound cultural significance. This study explores the preservation and transmission of these folk songs, recognizing their importance in cultural heritage. The aim is to investigate the educational significance of preserving and transmitting Chinese Folk Songs in Tongliao Province, Inner Mongolia Autonomous Region. Materials and Methods: Three key informants, including experts in music education, singing, and Horqin folk music, were interv

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Polin, Claire. "Conversations in Leningrad, 1988." Tempo, no. 168 (March 1989): 15–20. http://dx.doi.org/10.1017/s004029820002489x.

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Certainly it was the year to visit the USSR, as one rubbed shoulders with pre-Summit reporters awaiting Reagan/Gorbachev, and pilgrims celebrating the millennium of Christianity in Russia. Wandering up the Nevsky Prospekt, you saw musicians hurrying with instrument cases in hand; and whichever way you crossed the Neva or the canals, the babel of language sounded like a session at the United Nations. As Tikhon Khrennikov (still Chairman of the Composers Union 40 years after its notorious 1948 Congress) pointed out in his welcoming address at the opening concert, the Festival's purpose was ‘for

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Charlotte D'Evelyn. "Grasping Intangible Heritage and Reimagining Inner Mongolia: Folk-Artist Albums and a New Logic for Musical Representation in China." Journal of Folklore Research 55, no. 1 (2018): 21. http://dx.doi.org/10.2979/jfolkrese.55.1.02.

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Ping, L., M. A. Yuyshin, and I. A. Arzumanov. "On the Protection of Intangible Heritage of Russian Folk Oral Music in the Context of Intercultural Communication (Hulunbuir, Inner Mongolia)." Concept: philosophy, religion, culture 5, no. 3 (2021): 177–92. http://dx.doi.org/10.24833/2541-8831-2021-3-19-177-192.

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The article discusses the issues of preserving the genre of Russian folk oral musical creativity in the village of the Argun and the city of Hulunbuir, Inner Mongolia, located in the northern part of China. The issue is viewed in the context of intercultural communication between descendants of Russian immigrants and Chinese locals. The article considers the factors in the formation of the ethnic group of Chinese Russians in Hulunbuir, an area of Russian immigrants’ compact settlement, and the markers of their distinct ethnic identity. Chinese Russians are a specific ethnic group since over se

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Manjin, Nai. "Study on the Ecological Emotions in Mongolian Desert Folk Songs." Journal of Art, Culture and Philosophical Studies 1, no. 1 (2024). http://dx.doi.org/10.70767/jacps.v1i1.41.

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Inner Mongolia is the largest and most diverse ecological functional area in northern China. Mongolian folk songs often express gratitude for nature, praise nature, reflect on life, promote ecological balance, and highlight the harmonious coexistence of humans and nature. This paper analyzes 553 folk songs from the collection Five Hundred Mongolian Folk Songs, focusing on the "ecological emotions" embodied in the desert folk songs that hold a significant position in Mongolian folk music. The study explores the mechanisms of these ecological emotions, their practical significance, and the role

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Tsend, Naranchimeg, and Yundenbat Sonom-Ish. "Documentary history of the mongolian folk song “Soyol erdene”." Mongolian Journal of Arts and Culture, December 29, 2023, 148–55. http://dx.doi.org/10.69561/mjac.v25i47.3464.

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The aim of this study is to explore the life and musical contributions of Dorjdagva Jigzav, a renowned singer and composer of Mongolia. It was the Prime Minister of Mongolia, Amar Anand, who first introduced Dorjdagva J. to the famous singer Dugarjav Magsar khurts. Dorjdagva J. was well-known for his work in the development of long and folk songs, choral singing, and contemporary music. He was committed to preserving and promoting Mongolian music, and his compositions played a significant role in elevating Mongolian music to new level. Additionally, Dorjdagva J. was also a researcher, educator

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Gai, Leirong. "Influence and Reference—Taking the Song “Horse Racing” as an Example, the Comparison Between Han Erhu and Mongolian Matouqin." Art and Society 1, no. 2 (2022). http://dx.doi.org/10.56397/as.2022.10.02.

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Different geographical locations and different civilizations constitute different musical development. Erhu and matouqin are both stringed instruments. The two musical instruments have similarities not only in appearance, but also in timbre. Just take the song “Horse Racing” as an example. This work was originally created for the erhu, but with its unique style and realistic skills, it has attracted more and more composers and performers to transplant for other musical instruments. Influence and reference to the erhu and matouqin versions. To develop folk music, we must adhere to cultural self

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Munkhjargal, Amarjargal. "Explaining the type of Mongolian "Khoomii" from the phonological articulation's point of view." Mongolian Journal of Arts and Culture, December 29, 2023, 119–29. http://dx.doi.org/10.69561/mjac.v25i47.3461.

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We are faced with the need to study in detail the types and methods of folk art, the unique forms of expression, the connection between them, stereotypes, and social and cultural changes. In this article, I aimed to search for an opportunity to explain the expression art of the narrating organ, which is a part of the big field of folk musicology, especially of the throat singing art, and classification from the perspective of the phonological articulation of the Mongolian language and to report the results of the attempt to model the classification. In the study, the term “Khuumii” was written

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Ц., Фань. "ПРОБЛЕМА ПОДГОТОВКИ СПЕЦИАЛИСТОВ МУЗЫКАЛЬНО-ЭТНИЧЕСКОГО ПРОФИЛЯ ДЛЯ РАБОТЫ В НАЦИОНАЛЬНЫХ ШКОЛАХ В РЕГИОНЕ ВНУТРЕННЯЯ МОНГОЛИЯ". Человеческий капитал, № 2(146) (17 березня 2021). http://dx.doi.org/10.25629/hc.2021.02.16.

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Статья посвящена проблеме подготовки качественных специалистов музыкально-этнической направленности для работы в школах и систематизацию процесса обучения в китайском регионе Внутренняя Монголия. При этом этнический компонент университетского образования рассматривается как комплексная система, объединяющая различные науки, теоретические исследования и социальную коммуникацию, а внутренние ресурсы учебного заведения направлены на отбор и анализ монгольской традиционной музыки в образовательном процессе (посредством обучения, исследований, исполнительской практики и т.д.). Подчёркивается, чтосу

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Ло, С. "Principles of Reflecting Chinese National Culture in the Works of Tan Dun." Музыковедение, no. 3 (March 23, 2022). http://dx.doi.org/10.25791/musicology.3.2022.1242.

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Нематериальное культурное наследие – это древняя память жизни и культурное богатство китайской нации, а также запечатленная удивительная история эволюции китайской культуры. Тань Дунь – один из музыкантов, получивших высокую репутацию в Китае после китайской культурной революции. Его работы охватывали принципы китайской и западной музыки, сокращая разрыв между классическим западным творчеством и азиатской традиционной культурой. Он ставил и ставит в своем творчестве глобальную задачу: соединить воедино достижения музыкальной культуры Запада и Востока. При этом он сделал такое обширное вхождени

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