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TUNING WESTERN AND EASTERN Music BY G. BIRWAA AND B. MÖNKHBOLD
Long-drawling song which evolved from the lives ofthe nomadic Mongols and in¬
herited until today by being sung in Mongolian is the concrete example representing
the wonder of mankind’s creative splendour. In this sense, in 2003 Mongolian long¬
drawling song was proclaimed by UNESCO as masterpiece of the oral or intangible
heritage of humanity, and in 2008 it was inscribed into the representative list!° of
intangible cultural heritage of humanity. Mongolian long-drawling song as precious
heritage of humanity has many thousand years of history, and is sung in a specific
style creating crystal-clear melody by fluting with the aid of the throat, breath,
mouth and chin pulsed. Such a uniqueness of this song is the origin of the medita¬
tional songs which absorbed the thinking of Buddhist music of India and Tibet. It is
clear from the research materials of G. Birwaa, L. Erdenechimeg, and S. Yiindenbat.
Monasteries and monastic schools of Lamiin Gegeen had leading position in the
development of astrology, medicine, and music in Mongolian Buddhism, especially
those were famous for the melodies during religious service and giir songs. Because
of that, there was sung long-drawling song in Diwaajin (Tib. bDe ba can, “paradise”)
datsan.”° Besides, native people, when bathing in Shargaljuut hot spa, prayed and
recited mantras, and before going out of the spa they melodiously recited the ode of
the White Tara 21 times. It is what Dambiin Sangi,”! the vassal of Hevajra datsan
told. Also, archival materials concerning the worship of Shargaljuut say that “Start¬
ing from the first day of the White Moon of the 9" year of Tongzhi emperor (Biirintii
Jasayci-yin yisüdüger on-u Cayan sarayin sarayin [sin-e-yin] nigen-e: erkim degedü
sayin edür-ece ekilejü), many delicacies as medium-sized dish set, 3 red incenses
with a bit censing?... a full dish set ... 5 bulk-sized buns, and one set of fruit” were
prepared to worship Shargaljuutiin tunlkha™ ... when the lama was invited to pray
and recite the mantra, and it was registered into the account concerning all such stuff
being used during any Lawrin tsam event.”
As mentioned above, there are plenty of facts concerning that the melody had been
developed at the monasteries and monastic schools of Lamiin Gegeen. For instance,
the original copy of melody marking of the Arwan khangal (Mong. Arban qangyal)
related to the harmony at the monasteries and monastic schools of Lamiin Gegeen is
in the private collection of S. Badral, PhD in Art Studies. It says that this is the original
version of the melody markings of giir song and was recited by Lamiin Gegeen. Facts
are mentioned in the History of the Ecclesiastical Estate of Lamiin Gegeen, as written
by S. Yündenbat in 2009. Dynamic development of music and songs during the peri¬
od ofthe Fatty incarnation? of Lamiin Gegeen is particularly highlighted in the book.
9% http://www.monheritage.mn/mn/intangible/UnescolchDetails.aspx?ItemID=13.
20 Birwaa, G.: Ekh oron gedeg ..., 122.
2! Yündenbat, S.: Lamiin gegeenii shawiin tüükh, 142.
Ingredients of censing (various substances).
3 National Archives of Mongolia, M-76. A-1, SU-21, 2.
4 Worship of the land.
> National Archives of Mongolia, 19.
Birwaa. G.: Ekh oron gedeg ..., 18: Luwsanperenleitogmid, fifth reincarnation of Lamiin Gegeen
(1862-1907) had specific inclination towards art, and when visiting other kKhoshuus and when among
folks, he always brought best singers and musicians together.
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