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TUNING WESTERN AND EASTERN Music BY G. BIRWAA AND B. MÖNKHBOLD
in the private archives of G. Birwaa. Also, in the same notebook mentioned above,
there is another song, at the end of which the Third Lamiin Gegeen wrote that the
second Lamiin Gegeen taught shortly about state and it was appropriate for him
[the Third Lamiin Gegeen] to teach shortly about religion and he wanted to write
one short verse about religion.” L. Erdenechimeg, ScD in Art Studies, wrote that in
gür song script, the fifth notebook, there was some incomplete verses of giir songs
written in Tibetan by mixing red and black inks. It is a Mahakala prayer, a Yama
prayer, and a Sridevi prayer. The size of that notebook is 13x11 cm with 53 pages.
It was the manuscript of verses with no melody markings. I saw that manuscript in
1992 in the collection of O. Genden monk, born in Galuut district of Bayankhongor
province. He did not allow me to copy that fifth notebook, but kindly allowed me
to take its photograph. Later, I saw that fifth notebook in the private collection of
G. Birwaa. While showing it to me, he encouraged me to study it. Simultaneously,
he told* me that he took part in Children Song of Jotloi (Tib. mchod las),’’ the
choir class of the monastery because he was native to this land. G. Birwaa introduced
religious musical instruments as large bugle (Mong. yeke büriy-e), which is used to
invite deities, bell (Mong. gongqu), double-faced hand drum (Skr. damaru, Mong.
damaru)*® and drum (Mong. kenggerge) into western symphonic orchestra, thus
making it religious character.
Simultaneously, oboe was used, which is a musical instrument of western orches¬
tra instead of wooden trumpet, the key musical instrument of religious service. The
sound of them did not differ.
The uniqueness of the composer, G. Birwaa brought into modern music is the
melody of the religious service of Lamiin Gegeen’s monastery tuned with the sound
of oboe? and enriched by his fantasy. Another specific of the symphony Damdin¬
because it was a forbidden musical instrument. The clarinet was used during culmina¬
36 Erdenechimeg, L.: Mongoliin giir duu. Vol. IV. Offset Printing, Ulaanbaatar 2015, 19.
Erdenechimeg, L.: Mongoliin gtir duu, 6: Melody names to mark the style to sing giir song, melody
and rhythm, lyrics, and rhythmic size, notation of melodies, specifics to play, choir class as Jotloi
school all these are development of the school with the canon to sing giir song as independent type
of song craft.
38 Stikhbaatar, O.: Mongol khelnii khar’ iigiin tol’, 98.
Jantsannorow, N.: Khdégjmiin onoliin ner tomiyonii khuraangui tol’. Ulaanbaatar 1997, 23: Concepts
expressing musical melodies, joint melodies, and their connection.
Sükhbaatar, O.: Mongol khelnii khar 'ügiin tol’, 69: International language, the word origin is Turkish
Tsartai pipe (woodwind instrument).
s BNMAU-iin ugsaatnii dzüi sudlal I. Ed. Badamkhatan, S. State Printing Factory, Ulaanbaatar 1987,
356-357: Ganlin is made of the femur of girl dying not reaching 18. It is woodwind instrument made
of human femur and copper, with engravings of dragon or crocodile head, 50-60 cm long, to blow
during religious service. On the node of it, there engraved two holes and it sounds as horse neighing
when blowing. It is musical instrument being blown at religious service together with cymbal, drum,
and large bugle, as if reminding there is no eternal being in the universe and there would be death for
everything. Mostly, two ganlin are used.
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