Oldal 289 [289]
OCR
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 orchestra 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 Damdinbecause it was a forbidden musical instrument. The clarinet was used during culmina36 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. 40 287
