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Journal articles on the topic 'Music, mongolian'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Sharavtseren, Tserenjigmed. "Factors, obstacles, mechanism and development directions for the professional music education in Mongolia." Problems of Modern Education (Problemy Sovremennogo Obrazovaniya), no. 4, 2020 (2020): 225–38. http://dx.doi.org/10.31862/2218-8711-2020-4-225-238.

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The article presents the results of the study of training music art professionals and music teachers in Mongolia. The comparative analysis of music education in Germany, Sweden, Israel, China, Japan and Russia is conducted. Prospective measures of development of professional music education in Mongolia are suggested. Factors, obstacles, mechanism and directions of development of the Mongolian State Conservatory – the first Mongolian academic higher education institution for training professional musicians – have been identified. The mechanism of the development of professional music education

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2

Wang, Jingbo. "Characteristics of Mongolian piano works and teaching practice." Journal of Education and Educational Research 9, no. 1 (2024): 343–50. http://dx.doi.org/10.54097/5sdt7e13.

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The objectives of this paper are mainly four: first, the cognitive level and performance skills, the comprehension, promotion and development of performance skills and works, and the creation, performance, and teaching of Mongolian style piano works. This paper discusses the performance and teaching practice of piano works in Inner Mongolia, and analyzes the development of piano education and teaching in Inner Mongolia. Through investigation and analysis, find out the problems existing in teaching and the ways to solve them, and make further exploration and analysis; Based on the analysis and

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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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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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Ihsanusyauqie, Muhammad, and Gilang Nur Alam. "The Impact of Hu’s Music Diplomacy on Mongolia’s Tourism National Branding Program." Jurnal Indonesia Sosial Teknologi 5, no. 9 (2024): 3540–49. http://dx.doi.org/10.59141/jist.v5i9.1743.

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This study aims to analyze the impact of Hu's music diplomacy on Mongolia's national branding program. The study employs a descriptive qualitative method with secondary data analysis from journal articles, books, relevant reports, and media covering The Hu's activities. The results indicate that The Hu, with their unique approach of combining traditional Mongolian music elements with modern rock, has successfully raised global awareness of Mongolian culture and enhanced the country's positive image. Their international performances received awards, and collaborations with renowned musicians ha

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Muhammad Ihsanusyauqie and Gilang Nur Alam. "The Impact of The Hu's Music Diplomacy on Mongolia's Tourism Nation Branding Program." Journal of Law, Politic and Humanities 4, no. 6 (2024): 2411–18. https://doi.org/10.38035/jlph.v4i6.681.

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This study aims to analyze the impact of The Hu's music diplomacy on Mongolia's nation branding program. The study employs a descriptive qualitative method with secondary data analysis from journal articles, books, relevant reports, and media covering The Hu's activities. The results indicate that The Hu, with their unique approach of combining traditional Mongolian music elements with modern rock, have successfully raised global awareness of Mongolian culture and enhanced the country's positive image. Their international performances, received awards, and collaborations with renowned musician

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Yang, Yue. "Resonance of Tradition: A Comprehensive Exploration of the Historical and Cultural Dimensions of Mongolian Ethnic Music in China." Pacific International Journal 7, no. 2 (2024): 28–32. http://dx.doi.org/10.55014/pij.v7i2.559.

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This paper studies the historical evolution and cultural inheritance of Mongolian ethnic music within China, particularly focusing on the nomadic traditions entrenched in Inner Mongolia. Tracing its roots from ancient times to the contemporary era, the research illuminates the profound connection between the musical heritage of the Mongolian people and their nomadic lifestyle. Through a meticulous historical analysis and literature review, the study unfolds the intricate layers of Mongolian ethnic music, showcasing the significance of traditional instruments and vocal techniques. The paper exp

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Et al., HO-WOOG KIM. "Medical Hallyu In Mongolia: A Case Study Of Dr. Kwan-Tae Park’s Spirituality And Medical Service." Psychology and Education Journal 58, no. 1 (2021): 4821–32. http://dx.doi.org/10.17762/pae.v58i1.1643.

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Since the establishment of diplomatic relations between South Korea and Mongolia in 1990, Hallyu (the Korean Wave) has rapidly spread to Mongolia. Korean food and medicine, as well as Korean drama and pop music, are welcomed by Mongolians. The purpose of this study is to examine the influence of Korean medical service on Mongolia, focusing on the Korean medical missionary Kwan-tae Park. We will show that his excellent human relationship as a reason for his fruit-bearing ministry in the Mongolian society, which is somewhat unfriendly to aggressive Christian evangelism. In conclusion, we will ar

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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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Yang, Menghao. "From Grasslands to Global Beats: A Study of Mongolian Ethnic Music Integration in Chinese Pop." Pacific International Journal 7, no. 2 (2024): 109–13. http://dx.doi.org/10.55014/pij.v7i2.583.

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This study goes into the integration of Mongolian Ethnic Music into Chinese pop culture, exploring its historical roots, musical characteristics, and contemporary manifestations. Mongolian Ethnic Music, rooted in millennia of tradition and nomadic heritage, reflects the spiritual essence and cultural richness of the Mongolian people. Through an examination of ancient origins, influences of shamanism and Buddhism, and modern developments, the evolution of Mongolian music is traced, showcasing its diverse melodic, rhythmic, and tonal qualities. The classification of Mongolian music genres and st

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Mazarchuk, Anna V. "Mongolian Music and Theatre Vocabulary: Terms for String Instruments." Oriental Studies 17, no. 4 (2024): 902–12. https://doi.org/10.22162/2619-0990-2024-74-4-902-912.

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Introduction. The article deals with semantics and etymologies of most widely used traditional Mongolian string instruments. Goals. The study aims to show some particular features of how Mongolian music and theater vocabulary would take shape through the example of designated lexical units. Materials and methods. The work employs the continuous sampling method to focus on Mongolian dictionaries, scholarly ethnographic and cultural publications. The extracted vocabulary data be further compared to entries contained in Mongolic, Turkic, Chinese and Manchu etymological dictionaries. Results. The

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Сүхбаатар, Баяндүүрэн. "Монгол хаадын ордны дуу хөгжмийн түүхэн тойм". Mongolian Journal of Anthropology, Archaeology and Ethnology 13, № 1 (2024): 125–32. https://doi.org/10.22353/mjaae.20241302012.

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Mongolian music is an integral aspect of all facets of Mongolian life, deeply woven into religious ceremonies, festivals, and everyday experiences. Through music, we gain a profound understanding of Mongolian culture, as it reveals not only the ways and styles of life but also the historical evolution of the Mongolian people. Music serves as a mirror to Mongolian traditions, cultural practices, and worldviews. Historical sources and research highlight the development of Mongolian music, particularly within the context of the Mongol Khan’s court. Over the centuries, Mongolian music has undergon

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Сүхбаатар, Баяндүүрэн. "Монгол хаадын ордны дуу хөгжмийн түүхэн тойм". Mongolian Journal of Anthropology, Archaeology and Ethnology 13, № 2 (2024): 125–32. https://doi.org/10.22353/mjaae.2024130212.

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Mongolian music is an integral aspect of all facets of Mongolian life, deeply woven into religious ceremonies, festivals, and everyday experiences. Through music, we gain a profound understanding of Mongolian culture, as it reveals not only the ways and styles of life but also the historical evolution of the Mongolian people. Music serves as a mirror to Mongolian traditions, cultural practices, and worldviews. Historical sources and research highlight the development of Mongolian music, particularly within the context of the Mongol Khan’s court. Over the centuries, Mongolian music has undergon

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14

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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Ulziibadrakh, Zoljargal, and Zoltán Szakály. "Market landscape and the role of marketing in the field of Mongolian performing arts organizations." Anali Ekonomskog fakulteta u Subotici, no. 00 (2024): 40. http://dx.doi.org/10.5937/aneksub2400001u.

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Classical music is a formal music tradition of the Western world; an accepted genre having had many positive benefits on human and animal lives. The most common benefits of classical music are to provide an immersive live experience, support psychological and physiological needs, boost our health and brain functions, and improve productivity. Many countries have a well-developed history and achievement in this field, thus gaining an advantage; however, as classical music entered Mongolian culture comparatively late, it is a promising field in which to conduct research. This study aims to explo

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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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[武瑞平], Wu Ruiping, and Chow Ow Wei [曹爾威]. "Memory of the Grassland: How to Keep Singing Mongolian Gür Songs in Today’s Ordos City, China." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 13 (June 3, 2024): 1–12. http://dx.doi.org/10.30819/aemr.13-1.

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Ordos is a prefecture-level city of the Inner Mongolia Autonomous Region. Besides the famous Genghis Khan’s Remembrance Place as its significant feature of the past, it also features some gur songs of the Mongolian grassland. Although little known to the world, Gur songs have long served in Mongolian rulers’ circles from ancient times. Through reconstruction, revitalization, and re-textualization over three millennia, Gur songs are regarded to represent local Mongolian culture as they are deeply rooted in Hanggin (a special district of the city) of Ordos. Crises of a heritage solely built on a

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D., Ganpurev. "Андураан дууг* ангилал зyйгээр шинжих нь (хөгжмийн археологи судлалын илтгэл) (=Исследование «андуран дуу» с использованием системы классификации (доклад по музыкальной археологии))". Desertum Magnum: studia historica Великая степь: исторические исследования, № 2 (30 грудня 2020): 24–45. http://dx.doi.org/10.22162/2712-8431-2020-10-2-24-45.

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A musical artifact, unique not only in history of ethnic music of Mongolia, but also in world history and archeology was found in rock burials in the area of Zhargalant Khairkhan, Khovd aimak of Mongolia. A joint study of Mongolian and German scientists, based on the age of the artifact, confirms that the unique find dates back to the 7thand 8thcenturies of our era. This musical artifact has been successfully studied by Mongolian, German and American scientists in the fields of archeology, paleoanthropology, ancient writing, line drawing and musicology. The author of the article admits that in

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Khereid, Utgat. "Өвөр Монгол ижилсэл ба орчин үеийн бүжгийн хөгжим". Монгол судлал 47, № 1 (2024): 451–59. http://dx.doi.org/10.22353/ms20234738.

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Since the establishment of the Inner Mongolia Autonomous Region of the People’s Republic of China in 1947, there have been many changes in the social and cultural life of Inner Mongolia. Among them, “Ulaan Tchihir” and art groups for cultural and artistic activities were established in cities and rural areas. Since then, on the one hand, Mongolian ethnic identity based on traditional culture, on the other hand, civic identity reflects the influence of China’s policy and culture, and a distinctive culture of Inner Mongolia, which is different from other Mongolian ethnic groups, have been formed

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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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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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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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Yao, Mengting. "THE INNOVATION AND DEVELOPMENT OF TRADITIONAL CHINESE MINORITY MUSIC IN THE CONTEMPORARY CULTURAL BACKGROUND." Scientific heritage, no. 122 (October 6, 2023): 3–7. https://doi.org/10.5281/zenodo.8412776.

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The diversification of modern culture has had a profound impact on minority music culture, with opportunities and challenges coexisting. The creation and progress of Mongolian music are very evident in this, as it is closely related to its own traditional music and cultural environment, always maintaining its own ethnic characteristics; By embracing and absorbing the music culture of other ethnic groups with a broad mind, we can communicate and integrate well with other music cultures, continuously improving our own development ability; Continuously improve oneself in order to better meet the

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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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Si, A. La Mu. "Exploring the Integration of Mongolian Dance in Aesthetic Education for its Inheritance and Development." International Education Forum 2, no. 10 (2024): 48–53. https://doi.org/10.26689/ief.v2i10.8875.

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This paper briefly elaborates on the types and basic styles of Mongolian dance, analyzes the role of aesthetic education in Mongolian dance and proposes feasible strategies for promoting the inheritance and development of Mongolian dance through aesthetic education from four perspectives: dance aesthetic courses, music courses, physical education courses, and campus culture. The aim is to enrich research outcomes in this field.

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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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Wang, Lan. "The presentation and cultural characteristics of the Savurden dance form among the Mongolian people." 国际化教育科学与理论 3, no. 3 (2024): 43. https://doi.org/10.26789/ijest.v3i3.1876.

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The Mongolian nationality dance includes the top bowl dance inherited from the Yuan Dynasty, including chopsticks dance, insect insect dance, Topxiu dance, duel, etc. Various kinds of dances have their own characteristics, and various dances express the strong emotions of the Mongolian people. This paper studies —— Surden, another Mongolian dance. In short, Savurden is a form of artistic expression that integrates song, music and dance, with profound research significance and rich cultural heritage. The article will take Mongolian Uygur dance as the starting point to explore the presentation a

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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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Hutchins, K. G. "The Melodious Hoofbeat." Inner Asia 22, no. 2 (2020): 217–36. http://dx.doi.org/10.1163/22105018-12340148.

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Abstract This paper examines cases in which traditional musicians in Mongolia bring the perspectives of rural non-human animals into urban music institutions, troubling the colonial nature–culture and urban–rural divisions around which they were designed. In Mongolia, music has played a central role in the socialist modernisation projects of the twentieth century, as well as the protests that led to the country’s transition to parliamentary democracy in 1990. These projects involved the formation of urban-based national conservatories and orchestras designed around a western model that attempt

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Bulag, Uradyn E. "Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities.:Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities." American Anthropologist 105, no. 2 (2003): 452–53. http://dx.doi.org/10.1525/aa.2003.105.2.452.

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Csornai-Kovács, T. "MONGOLIAN URBAN GAMES." Acta Ethnographica Hungarica 44, no. 1-2 (2000): 177–87. http://dx.doi.org/10.1556/aethn.44.1999.1-2.12.

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Gonchikova, Medegma Ts, and Rimma B. Dondokova. "FORMATION OF HUMAN RESOURCES IN THE BURYAT-MONGOLIAN ASSR IN THE FIELD OF MUSICAL CULTURE AND EDUCATION IN THE 1920S – 1930S." Arts education and science 1, no. 38 (2024): 102–6. http://dx.doi.org/10.36871/hon.202401102.

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One of the tasks of the state cultural policy in the 1920s and 1930s was to create the necessary conditions for the development of musical culture and education in the Buryat-Mongolian ASSR. To solve the problem of personnel training in this sphere, a number of activities were carried out: organization of training courses for cultural and educational work, amateur art instructors, attraction of specialists from the main cities of the country, development of the material base, search for various forms of financing. The most important events in that period were the opening of a children’s music

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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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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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Marsh, Peter, Boyd Noorda, Frans Swierts, and Maya Maathea van Staden. "Naariits biilye (Let's Dance!): Mongolian khuuryn tatlaga." Yearbook for Traditional Music 33 (2001): 199. http://dx.doi.org/10.2307/1519669.

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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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An, Nomunsan. "Analysis of the study of long songs of Upper Mongolia." Mongolian Journal of Arts and Culture 25, no. 48 (2024): 228–36. http://dx.doi.org/10.69561/mjac.v25i48.3635.

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This article is written for the purpose of analyzing the researched status of Upper Mongolian long songs. In 2018, I, the author, obtained a master’s degree at the Mongolian University of Culture and Arts on the subject of “Musical techniques of long longs of Upper Mongolian long song with horse fiddled music”. Since then, in the process of in-depth study of the long songs of Upper Mongolia, I have conducted field research in 2017, 2019, 2020, and 2023 in Khukh Lake, the birthplace of long songs, and have reviewed and collected books and articles related to long songs in that area and in Beiji

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DOVCHIN, SENDER. "Translocal English in the linguascape of Mongolian popular music." World Englishes 36, no. 1 (2016): 2–19. http://dx.doi.org/10.1111/weng.12189.

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Helffer, Mireille, and Carole Pegg. "Mongolian Music, Dance & Oral Narrative. Performing Diverse Identities." Cahiers de musiques traditionnelles 15 (2002): 184. http://dx.doi.org/10.2307/40240454.

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L, Odontuya. "Sino-mongolian traditional historical relations regarding music and songs." Mongolian Journal of Foreign Languages and Culture 19, no. 1 (2015): 207–17. http://dx.doi.org/10.22353/mjflc2015115.

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Man, Dahu. "Research on Musical Characteristics of Ilatu's "Second Mongolian Lute Concerto"." Abstracts of Art 藝術學文摘 1, no. 1 (2025): 24. https://doi.org/10.63313/art.8005.

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The Second Morin Khuur Concerto by Yalalt is a Morin Khuur concerto composed by Mr. Yalalt in April 2018. This work is written using artificial scales while maintaining the original tuning rela-tionship of the Morin Khuur. Moreover, the scale A, bB, C, D, E, #F selected by the composer can not only meet the composer's desire for the dissonant sound of the tritone but also satisfy the creation of Chinese pentatonic melodies. This allows the piece to express both tonal and atonal music. The compositional technique of mixing atonal and tonal music is highly innovative com-pared to the above - men

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Зульцэцэг, Эрдэнебелег. "About repetition as the basis of playing the Morin Khuur." Музыкальное искусство Евразии. Традиции и современность, no. 4(9) (December 30, 2022): 12–21. http://dx.doi.org/10.26176/maetam.2022.9.4.001.

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Моринхур и связанные с ним художественные ресурсы являются неотъемлемой частью монгольской традиционной культуры. Игра на этом инструменте имеет свои уникальные характеристики, и в ее композиции повторяющийся звуковой узор занимает важное место. Повторность создается по-разному в зависимости от окружения художника, образа мыслей и обстоятельств. Повторяющийся шаблон является важнейшим фактором в выражении человеческой природы. Это хорошо видно на примерах монгольского традиционного декоративно-прикладного искусства и музыки, которые имеют качества, сходные с фракталом. Повторение является одно

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Park, So-hyun. "A Study on the Classification System of Mongolian Traditional Music." STUDIES IN KOREAN MUSIC 55 (June 30, 2014): 61–78. http://dx.doi.org/10.35983/sikm.2014.55.61.

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Mackerras, Colin. "Mongolian Music, Dance and Oral Narrative: Performing Diverse Identities (review)." Asian Theatre Journal 19, no. 2 (2002): 388–90. http://dx.doi.org/10.1353/atj.2002.0035.

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Sa, QiLa, LiHong Bao, YaGeTu Hu, Haihua Bai, and AGuLa Bo. "Study on the Metabonomics Mechanism of Mongolian Medical Andai Therapy on Healthy People." Evidence-Based Complementary and Alternative Medicine 2022 (June 20, 2022): 1–14. http://dx.doi.org/10.1155/2022/1364408.

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Andai therapy is a traditional therapy combining body, mind, and language with Mongolian characteristics. In the form of singing and dancing, it is widely popular among people of all ages in Mongolian areas of Inner Mongolia. According to Mongolian medicine, Heyi is one of the three elements of human body, and it can maintain life activities, promote blood circulation, and improve the functions of the sensory and mental consciousness. Andai therapy stimulates the whole body nerves and Heyi through music and dance, improves Heyi and blood operation, strengthens physique, improves immunity, effe

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Otgonjargal, Gurjav, Khandsuren Saranchimeg, and Luvsannorov Erdenechimeg. "DENIS YAROVOI`S INNOVATIVE APPROACH TO THE SOUND OF THE MONGOLIAN MORIN KHUUR INSTRUMENT." Deutsche internationale Zeitschrift für zeitgenössische Wissenschaft 96 (January 20, 2025): 4–9. https://doi.org/10.5281/zenodo.14698424.

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This article discusses, to a certain extent, in today’s musicology how the traditional construction and sound of the Morin khuur used by Mongolians are related to the Soviet master Denis Yarovoy. His work's value and innovative reforms have not been studied much. This is the main reason why we have chosen this topic for research. Since 1967, Soviet expert Denis Yarovoy has conducted musical experiments on musical instruments to make the sound of the leather-carved Morin khuur handed down by the Mongolians equal to the music of the smooth music system. He created a new model standard

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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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Ye, Wei. "The Artistic Value of Mongolian Music Elements in Unaccompanied Chorus Works." Highlights in Art and Design 1, no. 3 (2022): 31–35. http://dx.doi.org/10.54097/hiaad.v1i3.2954.

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These instructions give you guidelines for preparing papers for DRP Journals. Use this document as a template if you are using Microsoft Word 6.0 or later. Otherwise, use this document as an instruction set. The electronic file of your paper will be formatted further at DRP. Paper titles should be written in uppercase and lowercase letters, not all uppercase. Avoid writing long formulas with subscripts in the title; short formulas that identify the elements are fine (e.g., "Nd–Fe–B"). Do not write “(Invited)” in the title. Full names of authors are preferred in the author field, but are not re

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Munkhbaatar, Huzele, and Ariunaa Khaidav. "Observations on inner Mongolian composer Yalalt (Yeerda)'s piano compositions." Mongolian Journal of Arts and Culture 25, no. 48 (2024): 183–97. http://dx.doi.org/10.69561/mjac.v25i48.3631.

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This article was written to identify and analyze the works of Inner Mongolian composer Yalalt (Yeerda) and their characteristic styles, and through this, to understand the development and progress of the piano works of Inner Mongolian composers. Within the scope of the goal, the development of Inner Mongolia’s piano art is briefly introduced, the types of piano works by composers are clarified, and the style and characteristics of the compositions are explored, taking composer Yeerda’s &quot; Piano Collection&quot; as an example, the goal was to study and continue to study a specific w

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