"Music cultures today in rural and urban Mongolia and Inner Mongolia emerge from centuries-old pastoralist practices that were reshaped by political movements in the twentieth century. Mongolian Sound Worlds investigates the unique sonic elements, fluid genres, social and spatial performativity, and sounding objects behind new forms of Mongolian music--forms that reflect the nation's past while looking towards its globalized future. Drawing on fieldwork in locations across the Inner Asian region, the contributors report on Mongolia's genres and musical landscapes; instruments like the morin…mehr
"Music cultures today in rural and urban Mongolia and Inner Mongolia emerge from centuries-old pastoralist practices that were reshaped by political movements in the twentieth century. Mongolian Sound Worlds investigates the unique sonic elements, fluid genres, social and spatial performativity, and sounding objects behind new forms of Mongolian music--forms that reflect the nation's past while looking towards its globalized future. Drawing on fieldwork in locations across the Inner Asian region, the contributors report on Mongolia's genres and musical landscapes; instruments like the morin khuur, tovshuur, and Kazakh dombyra; combined fusion band culture; and urban popular music. Their broad range of concerns include nomadic herders' music and instrument building, ethnic boundaries, heritage-making, ideological influences, nationalism, and global circulation. A merger of expert scholarship and eyewitness experience, Mongolian Sound Worlds illuminates a diverse and ever-changing musical culture"--Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Jennifer C. Post is a senior lecturer in the School of Music at the University of Arizona. Sunmin Yoon is an adjunct assistant professor in the School of Music and Department of Languages, Literatures & Cultures, at the University of Delaware. Charlotte D’Evelyn is an assistant professor in the Music Department at Skidmore College.
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Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii Transliteration, Naming, and Place Names . . . . . . . . . . . . . . . . . . . . .ix Companion Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii Introduction: Mongolian Sound Worlds: Opening Snapshots SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 PART ONE: LANDSCAPES AND SOUNDSCAPES Interlude: Song about the Steppe K. OKTYABR AND JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 1. Sound, Music, Pastoralism, and Nature in Mongolian Sound Worlds JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 PART TWO: ETHNICITY AND DIVERSITY Interlude: Musical Journeys in Inner Mongolia and Beyond TAMIR HARGANA AND CHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . . . .53 2. Music and Ethnic Identity in Inner Mongolia CHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 3. The Politics of Regional and Ethnic Identities in Contemporary Mongolian Urtyn Duu SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 4. Gendered Musicality in the Altai Mountains REBEKAH PLUECKHAHN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 PART THREE: MATERIAL AND SOCIAL HISTORY Interlude: Consistency, Patience, and Perseverance: Maintaining the Fiddle-Making Tradition BAYARSAIKHAN BADAMSÜREN AND PETER K. MARSH . . . . . . . . . . . . . .129 5. The Horsehead Fiddle: A Biographical History PETER K. MARSH AND CHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . 135 6. The Tovshuur and Oirad Identity in Mongolia’s Western Provinces OTGONBAYAR CHULUUNBAATAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 7. Social Lives of the Dombyra and Its Makers in Western Mongolia JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 PART FOUR: HERITAGE AND GLOBALIZATION Interlude: Everything Has Two Sides: An Interview ANDREW COLWELL AND D. TSERENDAVAA . . . . . . . . . . . . . . . . . . . . . .197 8. Chandman’ and Beyond: Heritage-making of Mongolian Khöömii in Past and Present JOHANNI CURTET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 9. Mongolian Music, Globalization, and Nomadism ANDREW COLWELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 10. “We Were Born with Global Ambition”: Continuity, Innovation, and a New Chapter in the Development of Mongolian Popular Music PETER K. MARSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281
