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TSERENTULGA TÜMENBAYAR
of gür song. In this there were used horn trumpet, large bugle, bell, and double-faced
hand drum and the melodies of these instruments make everyone imagine that when
crafting the Goddess finished, Green Tara enlivened and by radiating light of mercy
and grace, they celebrated their defending scholarly degree. This way, it can be called
as the work bringing the joy because of ease felt in hearts. At the end, there is played
the melody with accompaniment of all musical instruments of national orchestra and
that melody brings joyful ease making deep thinking arise because of its character
of lyrical meditation.
Among his religious works, there are many praying songs and odes including the
Canto for mantra of goddess Yanjinlkham, Ode for 21 temples dedicated to the re¬
establishment of 21 temples of the Buryats (lyrics by Tsyren-Khanda Daribazarowa),
Ode praying for Dsanabadsar, which is of the character of lyrical meditation and for
which yatga, morin khuur, bell, double-faced hand drum, flute, attuned bell (Mong.
kög-tei gonggu), khöömii (Mong. kögemei) were used and extension of vibrato notes
of long-drawling song (Mong. sirunggai) (lyrics by Ts. Tümenbayar).
The unique feature of religious works by B. Mönkhbold is the use of religious
service melody with simultaneous accompaniment of religious musical instruments
as drum, bell, double-faced hand drum, ganlin, large bugle, and cymbal, thus creat¬
ing modern musical composition in which conspicuously displayed music tradition
of Buddhism.
Dun buree
Tsan
Khengereg Ever buree
Fig. 10. Musical instruments.
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