Mongolia’s contemporary cultural life is an extraordinary amalgamation of traditional elements, centuries-old heritage, and a rapidly growing modern element. Mongolians have a deep-seated love for lyrical melodies, which they utilize not only during public or individual holidays and celebrations but also while telling fairy tales, relating to livestock, playing games, and even counting. The eloquence, tunes, and structure of their lyrics and melodies are unique and specific to their culture, setting them apart from other nations.
Mongolian literature has a long and rich history, evolved from a wealth of traditional genres such as epics, legends, tales, Yuruul rol (poetry of good wishes), and Magtaal (the poetry of praise), as well as a host of proverbial sayings. Early medieval Mongolian literary works were written in old Mongol writing, Soyombo script, and clear inscription (tod useg). The most outstanding masterpiece among them is the Secret History of Mongols (Mongoliyn Nuuts Tovchoo), written in 1240. This literary work is a treasure trove of information about Mongolian kings, lifestyles, history, language, and culture, with epic poetry, shamanism, and customs. The Secret History is considered a classic work of literature, unique in its combination of epic poetry and narrative skillfully blended with fictional and historical accounts. Mongolian scholars and international specialists have undertaken the translation and study of this famous work.
Tuuli (Epic Poetry)
“Geser” and “Jangar” are classic Epic Poetry, each serving as a library of folk wisdom and national heritage. Although Tibetan Buddhism’s development in the second half of the 16th century had a significant impact on Mongolian literary and cultural life, traditional epochs and ballads were enriched by generations and remained popular. Modern literature has developed based on folk oral and written literature, reflecting social changes that occurred in the country and changes in traditional lifestyle, people’s relations, and attitudes in modern times. Fictional writings were initially based on folk tales and tradition, followed by short stories, novels, and plays based on historical subjects, and finally on contemporary life. Dashdorjiin Natsagdorj, whose poems and short stories became particularly significant in the 1930s, is considered the founder of modern literature in Mongolia.
Music and Melodies
Mongolian music is a reflection of their surroundings and lifestyle. The Mongolians have a unique way of composing melodies, which is often an involuntary reaction to daily events. The song’s sources are endless, from caring for a baby to seeing a calf or colt being rejected. Traveling on horseback or hurrying to a beloved also provokes a melody, composing another melody for the heartbeat. Birthdays, weddings, national holidays, winning a horse race or wrestling competition, celebration of the elderly, mare’s milk brewing, wool cutting, cashmere combing, and harvest comprise an endless chain of reasons for singing and dancing.
Through the ages, music has spread around Mongolia through home teaching and festivities, with any family or clan event being a good chance for musicians and singers to get together. Singers may sing with or without a musical instrument, representing different tribes and learning from others. In this way, the ancient patterns of various corners of Mongolia have been preserved by local masters for the whole nation.
Urtiin Duu (The Long Song)
The fundamental musical mind of Mongolians is contained in five tones (pentatonic) and diversified due to geography and way of life. Long song, known as Urtiin duu, is a unique traditional singing style that Mongolians adore. It is one of the oldest genres of Mongolian musical art, dating back to the 13th century. Urtiin duu involves extraordinarily complicated, drawn-out vocal sounds, evoking vast and wide spaces. It demands great skill and talent from the singers in their breathing abilities and guttural singing techniques. Long songs relate traditional stories about the beauty of the native land and daily life, to which Mongols offer blessings. Long songs are the paragon of Mongolian musical performance.
Khoomii (Overtone Singing)
The vocal singing in two pharynxes is distinct and doesn’t occur in other national cultures. Khoomii involves producing two simultaneous tones with the human voice, requiring special ways of breathing. One tone comes out as a whistle-like sound, the result of a locked breath in the chest being forced out through the throat in a specific way, while a lower tone sounds like a base. Depending on the way air is exhaled from the lungs, there are various ways of classifying Khoomii, including laryngeal, palatine, guttural, and nasal. Professional khoomii performers are mainly found in western Mongolia, particularly in Hovd aimag (province). Tuva, a part of Russia to the north of Mongolia, is also a center of khoomii.
