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TSERENTULGA TÜMENBAYAR
All the above proves that the tradition inviting deities and ancestors by appeasing
them with music and song dated back to ancient times.
Another vital work by G. Birwaa is the modern melody called Reciting mantra
for 10000 times.” This song of pray includes the recitation of mantras (Skr. mani,
Khal. maan’),*° spells (Tib. dmigs brtse ma, Khal. megdsem)*! and incantations
(Skt. dharani, Tib. sngags, Khal. tarni)°? melodiously which can make not only
the performers, but also the listeners to feel ease, harmony, understanding, care and
compassion.
B. Mönkhbold’s Activity
The tradition was successfully inherited to B. Mönkhbold, the laureate of state prize
of Mongolia, who created several works by adapting to the Mongolian morin khuur
ensemble and to western chamber music. When creating those works, Mönkhbold
used modern music style by considering musical technique, musical composition
and sounds. In this sense, his pieces of work truly reach the hearts of the audience.
Musicologist M. Mongonsitikh,*? National University of Mongolia, highlighted the
Canto for Purification, the work for morin khuur ensemble ... sounds as simultane¬
ous and monotonous™ reciting by several monks according to one general melody,
but with various dynamics instead of being performed with various tempos and
rhythms. Religious melody requires harmoniously set system of notation, and a fixed
form of recitation. Generally, woodwind and percussion instruments have been used
in religious rituals. However, the work Canto for Purification is very peculiar be¬
cause it is a progressive beginning to provide the study of the preservation of Lamiin
Gegeen’s melody, as well as its restoration and development, and inheritance with
scholarly explanations and interpretations. Furthermore, the researcher explained
this work in terms of Music Studies,"
® Yündenbat, S.: Lamiin gegeenii shawiin tüükh, 142: Starting from 16" of the middle month of autumn
for 3-5 days, many people gathered, and they altogether recite mantras 10000 times. First, nuns begin
reciting, and then many monks as /owon joined that activity of recitation and it is, as if a thousand
people choir, echoes of which trembled the temple.
Dagwadorj, D.: Mongoliin shashin surtakhuunii tailbar tol’. Ulaanbaatar 1995, 60: Mantra of
Avalokitesvara; Sükhbaatar, O.: Mongol khelnii har’ tigiin tol’, 150.
>! Sükhbaatar, O.: Mongol khelnii khar” ügiin tol’, 162.
Dagwadorj, D.: Mongoliin shashin surtakhuunii tailbar tol’, 64: One kind of recitation and prayer
through meditation by considering Tsongkhapa, the founder of the Yellow stream of Buddhism as
equal as original three deities; Stikhbaatar, O.: Mongol khelnii khar’ tigiin tol’, 204.
Möngönsükh, M.: Ariusakhuin duurislaas Gandirsiin egshgiig mederne. Opendoor Ne 245, May 2019,
24.
Sole voice.
°° Khégjmiin dsuragt tailbar tol’. DK — Monsudar Admon, Ulaanbaatar 2013, 379: Music work or dif¬
ference of sound velocity of its parts.
56 Britannica shireenii tailbar tol’. Vol VII. NEPCO, Ulaanbaatar 2011, 3651: Musicology. Scientific
and research study on music, at the end of the 18" century, at the beginning of the 19" century, many
amateurs as Ludwig von Kokhel studied music. There required professional mastery and skill to
read historical documents and manuscripts related to the development of ancient music. The first and
significant work concerning musicology was the first publication of the completed works of Bach.
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