Showing posts with label Mongolia. Show all posts
Showing posts with label Mongolia. Show all posts

21/10/2010

Musics & Musicians of the World: Mongolia (1990)

«The UNESCO Collection of Traditional Music of the World included more than a hundred pioneering audio recordings of the world’s traditional music published from 1961 to 2003 on a number of different recording labels. The series was launched in 1961 in collaborariginal context. Each recording was accompanied by scholarly annotations and photographs. Together, these disks are a reflection of the immense variety of music making and of the position music holds within cultures around the globe.

From the beginning of the 1990s, most of these recordings were reissued on CD by the label Auvidis, which later became Naïve. Until 2003, a total of 115 CD titles were released. These reissues, new issues and compilations were made available under five new series: Music and Musicians of the World, Anthology of Traditional Music, Traditional Music of Today, Celebration Collection and Listening to the World.

In 2005, the collaboration with Naïve ended, and the titles are currently not available for purchase. However, a new partnership is in preparation in order to make the titles of the Collection available again to the general public. In addition to the previously released issues, some 15 unpublished titles will finally be released. More information will be posted on this internet page when it becomes available.» (Unesco)

For more info about this specific release, see the explanatory booklet included.

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07/02/2007

Uyanga - Uyanga 1 (1998)

Nel corso della loro intensa carriera, gli Uyanga (poi divenuti Borte), di base in Germania ma formati da musicisti tutti diplomati al conservatorio di Ulaan Bataar, capitale della Mongolia, presentarono al pubblico europeo la musica mongola tradizionale e i suoi strumenti d’elezione, in gran parte sconosciuti in Occidente. Tra questi, il morin khuur, uno strumento dal suono simile al violino con il collo a forma di testa di cavallo (morin = cavallo) e corde e archetto fatti dei suoi crini. O il tobschuur (un tipo di liuto) e lo yatga (un’arpa ricurva con corde di budello). Ancor più sorprendente è la tecnica del canto gutturale tradizionale (il khoomi), tramandata per secoli, che permette di produrre un’impressionante gamma di toni (anche più d’uno contemporaneamente). La musica mongola, basata su una scala pentatonica, evoca in maniera formidabile i paesaggi lunari della Mongolia. Se il genio di Morricone ha saputo rendere alla perfezione l’atmosfera del Far West, la musica degli Uyanga vi farà cavalcare a perdifiato tra le aspre montagne, le steppe desertiche e le sconfinate pianure di questo affascinante angolo di mondo del Far East. A voi le briglie! R.

Brief notes on Mongolian music:
The Mongolian songs have a rich repertory. Music spread from home to home on the occasion of festivities and by way of teaching. The family or the clan meeting constituted a good chance to gather and sing together, the chance to learn from others, and to take home a new melody. In this way, the ancient patterns performed in various corners of Mongolia have been preserved by local masters for the whole nation. Some specific types are: labor songs (work songs); buuvay songs (lullaby); hunter's calls [to attract animals by imitating their call); various herder's calls, [to manage the herds by means of signalling (each animal has its own signal)]; uukhay or gulyingoon songs which are linked to seasonal events (arrival of spring, mare milk flows, horse race training, etc.); many other songs announcing birthdays, weddings, national holidays, winning a horse race or a wrestling competition, celebration of the elders, wool cutting, cashmere combing, arrival of harvest and many more songs for singing and dancing together. The nomad shepherds in Mongolia, like other nomads from Central Asia, used to play string and wind instruments. The national music of Mongolia has had a rich background and a great tradition that goes back many centuries. Ensembles (orchesters) have performed at court or in the monasteries for lamaistic celebrations or in ritual ceremonies. Ensembles also play for daily rites in the ger (round tents). The morin khuur (horse-head violin or 'fiddle') (morin = horse; khuur = sound, rhyme, melody) is the most important traditional instrument for dance and to accompany songs. It is the national instrument. […] The body and the neck are carved from wood. The end of the neck has the form of a horse-head and the sound is similar to that of a violin or a cello. The [two] strings are made of dried deer or mountain sheep sinews. It is played with a bow made of willow, stringed with horsetail hair and coated with larch or cedar wood resin. […] The yatga is a half-tube zither with a movable bridge. It is constructed as a box with a convex surface and an end bent towards the ground. The strings are plucked and the sound is very smooth. The instrument was considered to be sacrosanct and playing it was a rite, bound to taboos. The instrument was mainly used at court and in monasteries, since strings symbolised the twelve levels of the palace hierarchy. (Face-Music; click for more infos)

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