Recorded musicians

An Anthology of Mongolian Khöömii

Disc 1

The Khökh sal river

Improvisation / nasal khöömii (khamryn khöömii), palatal khöömii (tagnain khöömii), labial khöömii (uruulyn khöömii).
—
Unpublished. Field recording by J. Curtet, eastern flank of Mount Jargalant, Chandmani, Khovd Province, 10/08/2009.

According to the legends, the khöömii is originated from the imitation of the wind, the bird singing and the flow of the water. Sitting on a rock, Tserendavaa imitates the current and the lapping of a river in his native place (nutag) to show an essential exercise of khöömii learning: to listen to nature and to engage in dialogue with it, and to measure oneself to nature to better construct the vocal technique. After entering to nasal khöömii (khamryn khöömii) up to 0’22, he alternates between two modulation techniques: palatal khöömii (tagnain khöömii) where the trills evoke water, and labial khöömii (uruulyn khöömii).

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Excerpt of the film Masters of Overtone Singing:
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Khöömii career path

Apprenticeship in the pastoral way of life by imitation of his masters and models. Since 1980s, he’s played all over the world.

Musical practice

Seven techniques of khöömii: uruulyn khöömii (labial khöömii), tagnain khöömii (palatal khöömii), bagalzuuryn khöömii (throat khöömii), khamryn khöömii (nasal khöömii), tseejnii khöndiin khöömii (chest khöömii), khargia khöömii (deep khöömii), khosmoljin khöömii (combined khöömii) and lute tovshuur, horse-head fiddle morin khuur and fiddle ekel.

Characteristic

Innovator of the khosmoljin technique in the khöömii tradition. Member of the “Jargalantyn tsuurai” group (with R. Davaajav), one of the first khöömii ensembles in Mongolia. He is among the rare khöömii performers to keep the nomadic lifestyle besides the overtone singing career. He transmits khöömii tradition to his children, nomads of his region, as well as numerous foreigners on the spot and during his concert tours. He is among the first khöömii performers to start teaching the overtone singing to women.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)
  • Dörvön Berkh, Four Shagai Bones, Masters of Mongolian Overtone Singing (PAN 2100, 2010, Pan Records)
  • Tserendavaa & Tsogtgerel, Chants diphoniques de l’Altaï mongol (Buda Musique, 2008, Paris)
  • Mongolian Music, Dance, and Oral Narrative (C. Pegg, University of Washington Press, 2001)
  • Chandman’Song, Traditional Mongolian melodies sung in Khoomii (overtone singing) (Amina Records TS001, 2001, Mongolia)
  • Mongolia, Living music of the steppes, instrumental music and song from Mongolia (Multicultural Media MCM 3001, JVC 1997, Japan)
  • Jargalant Altai. Xoomii and other vocal and instrumental music from Mongolia (Pan 2050CD, 1996, Pan Records)
  • Mongol Music, Various artists (Cassette of the Mongolian National Radio)
  • Music and song of Mongolia Live at Cambridge, Various artists (Cassette Global Arts GA1, 1988, UK)
  • Music from Mongolia, Live at the Asia Society, Various artists (Cassette, 1987, USA)
  • Musique et chants de tradition populaire Mongolie, Various artists (Grem G7511, 1985)

See the other projects in which participated Tserendavaa:

The current of the river Eeven

Traditional melody / kharkhiraa
—
Unpublished. Sound archive of Mongolian National Public Radio, Circulation Fund, tape n° 32958, Radio recording, 03/07/1983.

There are many legends on the origin of khöömii. One of them suggests that khöömii was created from the imitation of the Eeven river (also Eeviin or Eev) flows. The location of this river is mysterious and the assumptions are numerous. According to the Mongolian-Tuvan khöömii performer Papizan (CD1-3, 4), it would be in China, just behind the Tavan Bogd Mountains in the province of Bayan-Ölgii, Mongolia. Baldan, a senior from his community told him that formerly the khöömii was used for hunting, as the imitation of deer roaring. In the existing sound archives in Mongolia, the note of this recording remains the first to mention the kharkhiraa. According to Jigden, Tserendorj’s childhood friend, Tserendorj would have learned it in the early 1940s from neighboring Tuvans. He used the local term khargia for kharkhiraa and also did the whistle khöömii and shogshoo khöömii, a rhythmic technique recalling the trot of the horse.

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Characteristic

The first recording of the sound archives at the National Radio of Mongolia mentioning the existence of kharkhiraa khöömii in the country.

Discographie

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)

Shamanic call

Improvisation / sygyt (whistle khöömii), khomus Jew’s harp.
—
Unpublished. Field recording by J. Curtet at D. Batsükh’s home, Tsengel, Bayan‑Ölgii province, 01/09/2015.

To the representation of nature is added the evocation of the spirits. If the metal mouth-harp (tömör khuur in Mongolian, khomus in Tuvan) remains the prerogative of shamans, it is also practiced by ordinary people. With the productions of a drone and a harmonic melodic play common to the khöömii, for Papizan*, shamanist master of Mongolian-Tuvan khöömii, this instrument is linked to nature: the sounds of water (regular rhythm and ornament of trill produced with the tongue) and the mountain (slow repetitive rhythm). Rare are the people to master the simultaneous play of the mouth-harp and the khöömii. This purely musical piece describes the trance of a shaman.

*Also written as Bapizan, Papisan or Pavizan.

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B. Papizan – Б. Папизан / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол:
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Master Class Khöömi – Papizan Badar & Johanni Curtet :
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Khöömii career path

Self-taught, inspired by Baldan, a respected man in his community.

Musical practice

Several techniques of Tuvan khöömii: uulyn kharkhiraa (deep khöömii of mountain), khöömii, isgeree (whistle khöömii), ayany khöömii (travel khöömii), golyn khöömii (river khöömii) and flute tsuur, lute tovshuur, fiddle ekel.
Instrument maker.

Characteristic

Representative of the Tuvan overtone singing in Mongolia, he taught khöömii and traditional instruments to the children of the secondary school and adults of his village.

Discographie

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)
  • Uuls tuulisyn oron, 2014

See the other projects in which participated Papizan:

Mountain Kharkhiraa & tuva improvisation

Improvisation & traditional song / kargyraa, singing, khöömii, sygyt, toshpuluur lute.
—
Unpublished. Field recording by J. Curtet at the home of D. Batsükh, Tsengel, Bayan‑Ölgii province, 01/09/2015.

The kargyraa (kharkhiraa in Mongolian) is a specialty of the Tuvans. Papizan begins by recalling the power and greatness of the mountain, and then follows on praise for the khöömii, the mountains, the water and the mother. He sings: “I will never give up my khöömii, I put it in a bag and carry it on my back. I will never give up my sygyt, I pack it up and carry it on my back. (…) I will never give up my kargyraa, I put it in a bag and carry it on my back.”* The sygyt is the Tuvan whistle khöömii and thus corresponds to the Mongolian isgeree khöömii in terms of modulation, but the intended timbre and intensity are different.

* Translation by D. Batsükh

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B. Papizan – Б. Папизан / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол:
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MASTER CLASS KHÖÖMII – PAPIZAN BADAR & JOHANNI CURTET
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Khöömii career path

Self-taught, inspired by Baldan, a respected man in his community.

Musical practice

Several techniques of Tuvan khöömii: uulyn kharkhiraa (deep khöömii of mountain), khöömii, isgeree (whistle khöömii), ayany khöömii (travel khöömii), golyn khöömii (river khöömii) and flute tsuur, lute tovshuur, fiddle ekel.

Characteristic

Representative of the Tuvan overtone singing in Mongolia, he taught khöömii and traditional instruments to the children of the secondary school and adults of his village.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)
  • Uuls tuulisyn oron, 2014

See the other projects in which participated Papizan:

The Heart’s Awakening & Ten Fingers of the Hand

Song composed by G. Daramzagd (1930‑1980) & traditional short song / labial khöömii (uruulyn khöömii).
—
Unpublished. Field recording by J. Curtet, in Mangaljav’s yurt, Tes, Uvs province, 12/08/2015.

In principle, making a melody with khöömii is done within a breath‑holding time. According to elders, once one knows how to produce a melody with khöömii, he/she can perform any tune with it. Nomadic herder Mangaljav has always loved the hit songs in his youth, like those of today, whether traditional songs or pop standards. Here he covers the air of a song composed in the Soviet period and then continues on a traditional short song. His style is characterized by a long breath, a rich vocal timbre and the lips for modulation (uruulyn khöömii), not framed by the conventions of the professional milieu. Unlike most of the khöömii performers of his generation, at the age of 72, Mangaljav knew how to preserve all his vocal health. Apart from the inhabitants of Tes district, if the ethnomusicologist C. Pegg* had not mentioned Mangaljav in a book in 2001, perhaps no one else would have known of his talent.

* C. Pegg, Mongolian Music, Dance & Oral Narrative, Performing Diverse Identities, Seatlle, Londres : University of Washington Press, 2001, p.236 et CD pl.18.

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L. Mangaljav – Л. Мангалжав / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол:
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Khöömii career path:

Self-taught. Mangaljav had the idea to learn it after having heard his uncle Sezen making khöömii while herding his cattle.

Musical practice:

Khöömii a cappella.

Characteristic:

Mangaljav makes khöömii of the melody that he likes, even if he doesn’t know the whole song.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)

Love Song

Song composed in 1959 by S. Gonchigsumlaa (1915‑1991) / khöömii.
Unpublished. Field recording by J. Curtet, at Mönkhsanaa’s house, Gachuurt, east of Ulaanbaatar, 22/09/2015.

As early as 1958, Mönkhsanaa was one of the first khöömii performers to learn by imitating the recordings broadcast on the radio. Like the Bayad khöömiich, he is characterized with a long breath and a pressed vocal timbre. Formerly, he managed to make 3 verses with khöömii in one go, for 1 minute. Although he does not give a specific name for his technique, he uses a position of tongue placed “at the bottom” in the mouth – probably the oldest method to modulate. His khöömii particularity resides in the precision of the notes and ornamentations faithful to the melodic contours of the song. The melody chosen is the one with which he won his first singing prize with khöömi in primary school in 1958 and a silver medal at the Festival of Traditional Arts in Ulaanbaatar in 1983. Having since stopped participating in the competitions, keeping his khöömii discreetly in a daily practice near his livestock, Mönkhsanaa had been forgotten from the current milieu of khöömii.

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Ch. Mönkhsanaa – Ч. Мөнхсанаа / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол :
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Khöömii career path:

Started learning khöömii in 1958 when he was 10 years old, by imitating a recording diffused on the radio, he improved his khöömii near his livestock. He taught khöömii to his two sons (who didn’t make career with) and to khöömii performer O. Otgonkhüü. Mönkhsanaa has participated in the contests of traditional art until 1983.

Musical practice:

Khöömii a cappella. He knows making khöömii of about twenty melodies.

Characteristic:

Tries to perform precisely the notes and ornamentations faithful to the melodic contours of the song, by thinking of the sung-version of the tune. Today, he notes that when young people perform khöömii, they usually make the melody well, but without the precision of ornamentation and nuance.

Discography:

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)
  • Jargalant Altai. Xöömii and other vocal and instrumental music from Mongolia (Pan 2050CD, Pan Records, 1996).

Mount Bayankhairkhan & (Name of a character)

Song composed by Ch. Baldan & traditional short song / Demonstration of khöömii techniques: high khöömii of the Altaï, rhythmic mouth khöömii, palatal khöömii, whistled kharkhiraa, high nasal khöömii, nasal kharkhiraa, combined khöömii, straight khöömii.
—
Unpublished. Field recording by J. Curtet, Mount Jargalant, Chandmani, Khovd Province, 22/08/2015.

Khöömii takes place in the life of nomadic herdsmen: watching over their livestock, standing, sitting, riding a horse or a motorcycle, while travelling or taking a break on the steppe… Khash-Erdene, the youngest son of the master Tserendavaa (CD1-1, 21, CD2-2), covers the melody of a local song in Altain shingen khöömii (high khöömii of the Altai) and then from 2′, on the air of a short song, realizes a theme and variations made of a succession of techniques: 1. Altain shingen khöömii; 2. amny tsokhilgotoi khöömii (rhythmic mouth khöömii) at 2’17; 3. tagnain khöömii (trilled palatal khöömii) at 2’34; 4. isgereetei kharkhiraa (whistled kharkhiraa) at 2’52; 5. khamryn shingen khöömii (nasal high khöömii) at 3’10; 6. khamryn kharkhiraa (nasal kharkhiraa) at 3’28; 7. khosmoljin khöömii (combined khöömii) at 3’47; 8. shuluun khöömii (straight khöömii) at 4’06.

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Ts. Khash-Erdene – Ц. Хаш-Эрдэнэ / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол :
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Khöömii career path:

Khash-Erdene started learning khöömii at the age of eight from his father D. Tserendavaa in Chandmani. From 2012 onwards, he studied B. Odsüren and S. Zagd-Ochir at the University of Arts and Culture in Ulaanbaatar and graduated with the diploma of professional khöömii performer in 2016.

Musical practice:

He also practices the morin khuur horse-head fiddle, the tovshuur lute and the tsuur flute. He knows about thirty traditional songs, with the morin khuur, around ten praise songs (magtaal) and 5 others with the tovshuur. Since 2015, he’s been learning the epic (tuuli) from B. Odsüren.

Characteristic:

His khöömii is located in a tenor register with a clear colour. He preserves the khosmoljin khöömii of his father, the isgeree khöömii of Odsüren and the kharkhiraa of Zagd-Ochir.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)

Tsuur melodies

Traditional melodies / Tsuur flute.
—
Unpublished. Field recording by J. Curtet in the apartment of Baatarjav, Ulaanbaatar, 17/09/2015.

Baatarjav is flutist and bard respecting of his old lineage. Sharing a common origin with the khöömii, in the legend of the river Eeven (CD1-2), the tsuur also is played with a “diphonic play*”: pressed vocal drone, flute playing and simultaneous breathing sound. Baatarjav presents a melodic sequence with the extracts of the following plays: 1. Ikh tergel, 2. Tsog süld, 3. Eeviin gol, 4. Eeviin dolgion, 5. Galyn tenger, 6. Tsagaan ingen, 7. Deed chilger, 8. Oroo tsokhilgont usan. It is interesting to note that khöömii is called khooloin tsuur (lit. ” throat instrument/flute”) among the Uriankhai of Xinjiang and that their repertoire, consisting of 13 pieces, is the same as that of the flute tsuur. Today the trace remaining in Mongolia concerns only this flute.

* Term used by A. Desjacques, Mélodies de flûte d’un berger mongol (Flute Melodies of a Mongolian Herder), Ulaanbaatar: Admon, 2004, p.23.

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Khöömii career path:

Born in a family of bards of at least 4 generations, he learnt it by herding the livestock. As a child, he watched Avirmed, a famous musician who made the tsuur flute and played it for the spirits of nature. Baatarjav improved his flute practice with his father and three professors: Yadmaa, P. Narantsogt, and Erdesh in Xinjiang. He also learnt khöömii in school starting from the age nine.

Musical practice:

His father offers him a tovshuur lute and encourages him to learn the epic (tuuli). Baatrajav learns epic singing from him and the great bard Choisüren.

Characteristic:

Baatarjav summarizes the epic singing style of his father and Choisüren.

Discography:

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)

(Name of a character)

Traditional long song / singing, whistling, Altain shingen khöömii (high khöömii of the Altaï).
—
Unpublished. Field recording by J. Curtet, in a yurt, Chandmani, Khovd Province, 21/08/2015.

In this sequence from singing to whistling and then to khöömii, Davaajav shows how a tune from a repertoire that is usually sung can be interpreted differently. The long song is practiced during festive events and domestic ceremonies. To sing it, the singer develops many ornamental techniques and covers several vocal registers. The nomadic herders like Davaajav also like to whistle this type of melody near the livestock. In hot weather, the whistling must be done outdoors as it can call the wind and its spirit. But for the disc, the recording was exceptionally made in a yurt. Few people perform long song in khöömii, because the extent of their tessitura is difficult to cover with modulation. Davaajav’s technique with fine ornamentation, Altain shingen khöömii (high khöömii of Altai), has the characteristic of being used for long melodious tunes. His timbre is soft, as he presses little on the throat.

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R. Davaajav – Р. Даваажав / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол :
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Khöömii career path:

Received his khöömii initiation from his elder brother Namjil and the great master Sundui, Davaajav has played in many countries. He transmits khöömii to his two sons, his community and some foreign students.

Musical practice:

Several techniques of khöömii: tseejnii khöndiin khöömii (chest khöömii), nariin khöömii (high khöömii), khargia khöömii (deep khöömii), khamryn khöömii (nasal khöömii), tovshuur lute.

Characteristic:

Member of the group “Jargalantyn tsuurai” (with D. Tserendavaa), among the first ensembles of khöömii in Mongolia. Herder, he is one of the rare musicians who have preserved a nomadic lifestyle and a professional practice of overtone singing.

Discography:

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)
  • Jargalant Altai. Xoomii and other vocal and instrumental music from Mongolia (Pan 2050CD, 1996, Pan Records)

See the other projects in which participated Davaajav:

The Steppe of the Four Seasons

Song composed by L. Mördorj (1919‑1996) / Altain shingen khöömii (high khöömii of the Altaï).
—
Unpublished. Field recording by J. Curtet at Batzayaa’s house, city and province of Khovd, 16/08/2015.

Developed by many composers of Mongolian classical music, the popular song (niitiin duu) was in vogue in the Soviet period. Some tunes became so well known that they are even considered to be traditional songs (ardyn duu). In this way, they have come to be part of the khöömii repertoire. Written from a poem by D. Pürevdorj, this composition by L. Mördorj is originally performed by a singer accompanied by an orchestra. Here the cover is executed as simply as possible, with the high khöömii of the Altai. Khöömii is far from being a professional exclusivity. Many people practice it for pleasure, in everyday life, without making it a specific performative and lucrative activity. This is the case of Batzaya, son of Davaajav (CD1-9), who delivers here his favorite melody. This recording shows the quality of a transmission of khöömii timbre in a family, preserved identically. Although it could be related to the gene, the result of the timbre is related to listening which plays a big role in the vocal construction of khöömii performer.

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D. Batzayaa – Д. Батзаяа / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол :
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Khöömii career path:

Batzayaa has learnt the khöömii from his father R. Davaajav at the age of fifteen. Unprofessional personal practice of overtone singing.

Musical practice:

Khöömii a cappella.

Characteristic:

Preserves the timbre of his father almost identical.

Discography:

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)

Praise‑song to the Altai

From a traditional praise‑song  / singing, labial khöömii (uruulyn khöömii), tovshuur lute
—
Unpublished. Field recording by J. Curtet, at Enkhbalsan’s yurt, city and province of Khovd, 21/04/2007.

Formerly, the epics of western Mongolia were preceded by a magtaal praise-song, to appease the spirits of the places before the beginning of the epic tale. The khöömii was rarely integrated in it. Altain magtaal also exists in different forms than this one. With the development of khöömii as a form of onstage performing arts, Altain magtaal became a hit. This version of the bard Enkhbalsan was recorded a few months before his passing. He includes here short passages in labial khöömii (uruulyn khöömii). In the past, the Zakhchin people called their practice “bugyn khöömii” (deer khöömii). Ya. Jargal, Enkhbalsan’s mother, explained that this technique imitated the deer roaring. On this subject, Erdenebüren, Enkhbalsan’s nephew recalls that the khöömii was executed with pauses, similar to the agiralt vocal technique used by hunters to attract deers. According to him, for the Zakhchin, the origin of the khöömii is well linked to the calls of hunting, even if there was a practice to make a version of the legendary melody Eevn golyn ursgal (CD1-2) with khöömii.

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Khöömii career path:

Cradled by the overtone melodies of his father, Enkhbalsan learnt khöömii from his childhood. He came from a family of musicians, mother’s side – all ekel fiddle players, and father’s side – all whistlers and singers. In the 1970s, he was introduced to the epic by the bard Vangir. When the weather was not good, with little rain and bad grazing, Enkhbalsan played the epic in order to coax the spirits of nature to obtain a favorable time. He went to sacred places to practice, as the monks would do for the Buddhist rituals. The epic was also used for curing diseases, notably by praising the Altai (Altain magtaal). In parallel to this practice, during the Soviet period, Enkhbalsan was a carpenter. He won several competitions of traditional music, with composed praise-songs. He taught the praise-songs and epic to about forty students and his sons, but they did not keep it at his level.

Musical practice:

Praise-song (magtaal), epic (tuuli), khöömii, lute tovshuur.

Characteristic:

The last bard of Zakhchin ethnic group.

Discography:

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)
  • Mongolie. Chants kazakh et tradition épique de l’Ouest (vinyle 33 t. Ocora 558 660, 1986, réed. CD C580051, Ocora Radio France, Paris, 1993).

Jangar (Name of a Hero)

Extract of a traditional epic song / shakhaa, isgeree khöömii (whistle khöömii), tovshuur lute.
—
Unpublished. Field recording by J. Curtet, in Odsüren’s apartment, Ulaanbaatar, 19/09/2015.

Before growing interest in the khöömii and becoming the first khöömii teacher in the university system, Odsüren started learning praise-songs and epics (tuuli) from the musician and storyteller D. Jantsanchoï. Following the inscription of the epic on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding at UNESCO in 2009, its transmission was integrated into the khöömii curriculum in universities. The inclusion of khöömii passages within epics is quite rare and is a recent reinvention by khöömii performers who integrate this repertoire. Jangar includes many versions and thousands of verses. The text relates the life and battles of the eponymous hero, like the combat between the good and evil forces. In this excerpt from a Khalkh narrative, Odsüren reports the life of Jangar. He uses the whistle khöömii to express the beauty of nature and the joy of the feast. In conclusion to his text, he improvises on the notion of verticality and its link with khöömii, as if to give musical approval of a pet concept in my research.

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Full concert at Musée du quai Branly (12/01/2013)

With the courtesy of musée du quai Branly:

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Khöömii career path:

Learnt khöömii from S. Myagmar, after having learnt the magtaal praise song. Besides his principal activity of teaching overtone singing, he participates in many international tours.

Musical practice:

Twelve techniques of khöömii, some of which are his innovations: khargia khöömii (deep khöömii), gilsen khöömii, tsuurai khöömii (echo khöömii), üyelzsen tsuurai khöömii (whirling echo khöömii), shuluun tsuurai khöömii (straight echo khöömii), khamryn tsuurai khöömii (nasal straight khöömii), dorgio khöömii (jolted khöömii), kherkheree khöömii (gargle khöömii), isgeree khöömii (whistle khöömii), dangildakh khöömii (monosyllabic rhythmic khöömii), doshgiraa khöömii (labial vibration khöömii) khosmoljin khöömii (combined khöömii) and fiddle ekel, lute tovshuur, mouth harp khulsan khuur (in bamboo) and tömör khuur (in metal).

Characteristic:

First to teach khöömii at the establishments of higher education system (National University of Mongolia, University of Culture and Arts) in Mongolia. Regularly transmits khöömii in Buryatia (Russia), Inner Mongolia (China) and Europe during the concert tours. One of the first khöömii performers to teach overtone singing to women.

Discography:

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)
  • Dörvön Berkh, Four Shagai Bones, Masters of Mongolian Overtone Singing (PAN 2100, 2010, Pan Records)

See the other projects in which participated Odsüren:

Namjil the Cuckoo

Extract from a legend / singing, isgeree khöömii (whistle khöömii), kharkhiraa, isgereetei kharkhiraa (whistled kharkhiraa), dombra lute.
—
Unpublished, recorded and mixed by Ts. Uuganbaatar, Studio Tengerton Music Productions, Nuremberg, Germany, 12/2015.

The legends (domog) are part of the khöömii repertoire. One of the most popular stories is the creation of the horse-head fiddle (morin khuur). A student of Odsüren (CD1-12), Ösökhjargal is among the first professional female khöömii performers by playing with the Khukh Mongol ensemble in Germany. Here she accompanies her singing and khöömii with the Kazakh dombra lute, now popular among the Mongolian musicians. In a declamatory style realized with a throaty voice (shakhaa), it is convenient to switch from this technique to overtone singing. Just like men, women have mastered the main styles and most techniques of khöömii.

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Documentary ‘Voyage en Diphonie’ (Journey In Diphonia) – call for participation in crowdfunding campaign (Teaser):
cd1_13-UsukhjargalPurevsuren1-2
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Cycle Mongolia of Ateliers d’ethnomusicologie – The singing of the steppe -Geneva – April 2016:
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Khöömii career path:

Apprenticeship with Odsüren (his second female student). Since 2001, she’s been performing around the world with the Khukh Mongol group. Ösökhjargal taught khöömii to his son.

Musical practice:

Several techniques of khöömii: isgeree khöömii (whistle khöömii), kharkhiraa khöömii (deep khöömii), isgereetei kharkhiraa (whistle khöömii with deep khöömii), khamryn khöömii (nasal khöömii) and lute tovshuur.

Characteristic:

The only Mongolian woman who represents khöömii in Europe with professional career, she founded ‘Khatan’, a traditional music group of female musicians.

Discography:

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)
  • Best of Khukh Mongol Folk Art Ensemble (self-production)
  • Khukh Mongol, Minii nutag (LC 12455, 5Special, 2004)
  • Khukh Mongol, Chinggis Khaan (self-production, Germany, 2002)

See the other projects in which participated Ösökhjargal:

Livestock in the Pasture

Goats and sheep of the Tserendavaa family, watched over by his son Khash‑Erdene (CD1‑7).
Bleats, whistles and calls for animals.
—
Unpublished. Field recording by J. Curtet, Mount Jargalant, Chandmani, Khovd Province, 22/08/2015.

The Mongolian khöömii performers – and more generally, traditional musicians – are particularly sensitive to their environment, whether it is natural or urban, whatever it is the landscapes and sounds. This excerpt from a typical day of a young shepherd in pasture makes it possible to apprehend such environment, in which he dialogues with his herds and directs them by whistling (isgeree) and different calls (malyn uria duudlaga, litt. “calls for animals”).

Praise‑song to the Altai

Traditional song arranged by D. Luvsansharav (1926‑2014) in 1954 / choir, khöömii.
Private family archive*.
—
Audio track extracted from a film recorded in Ulaanbaatar, 1954. Courtesy of Ts. Janchiv.

One of the oldest khöömi recordings preserved in Mongolia, this rare jewel is found thanks to the ethnomusicologist A. Colwell. It presents the moment when the khöömii was presented for the first time on the stage of a theater in Ulaanbaatar – a fundamental step in the constitution of the khöömii towards its onstage-performing art form. For the ten-day cultural event representing the province of Khovd to Ulanbaataar, the composer Luvsansharav, prepares an arrangement of Altain magtaal. One day in 1954 during a rehearsal, Tsedee, a young student actor, comes to show him what he can do with his throat. The composer, who discovers the khöömii, decides to integrate this oddity in his choir. The song ends with a majestic description of the Altai Mountains, translated by a vocal accord over which goes a line of khöömii. The passage, despite its brevity, remains the highlight of the piece. Note that the moment of khöömii here is not melodic. But Janchiv, the son of Tsedee, asserts that his father also made melodies with khöömii. He learned from T. Chuluun (1896-1968) in the army in the late 1940s. After returning from service in Chandmani, Tsedee developed his practice by listening to the sounds of nature while keeping his herd. He also played abroad (North Korea, China and the USSR) where the audience, surprised and curious, often asked him if he did not have a metal device placed somewhere. From its first steps on stage, the khöömii never ceased surprising the public.

* Document also conserved at the Centre of Film, Photography and Audiovisual Documents of the National Central Archives of Mongolia.

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Khöömii career path:

Initiated by Makhan Chuluun of his community, Tsedee self-taught khöömii by imitating the sounds of nature and environment.

Musical practice:

Khöömii a cappella, long song (urtyn duu) and folk songs (ardyn duu). He often sang at the ceremonies and festive events.

Characteristic:

First performer to show the khöömii on the stage of a theater.
His sisters said that Tsedee used his cloth belt to make the khöömii resound. Reportedly, he held it taut in his hands or arranged it in the shape of a bowl to create a resonance and thus make popular songs with khöömii.

Discography:

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique)

The Roan Horse

Traditional short song / khöömii.
—
Sound archive of Mongolian National Public Radio, Circulation Fund, tape n°3509, recorded on 08/06/1962.

Chimeddorj, then an actor in the drama theater of Ulaanbaatar, reportedly learned the khöömii from Tsedee after meeting him in the ten-day cultural event of Khovd in the capital city in 1954 (CD1-15). Tsedee remains attached to the theater of Khovd, while Chimeddorj will become the official khöömii performer of Ulaanbaatar. According to the musicologist J. Badraa, he would have been the first to make melodies of short songs with khöömii, such as Buural mori. Before him, no record found in Mongolia provides evidence to the contrary for the moment, although the testimonies concerning Tserendorj (CD1-2) and Tsedee (CD1-15) show that short songs were already made with khöömii in the 1940s. At that time, only the term khöömii would be used and the vocal technique would be simple. By participating in competitions and festivals organized in the Soviet countries, Chimeddorj contributes to the further dissemination of khöömii at the international level. He is one of the first khöömii performers to be broadcast on the airwaves. In general, with the interpretation rarely exceeding the minute at that time, the radio has put the title in a loop so that it lasts longer.

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Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016).
  • Altan üeiin ankhdagchid (Mongol Khöömei kholboo, Ulaanbaatar, 2012).
  • Les voix du monde, une anthologie des expressions vocales (CMX3741010.12, Le chant du monde, Paris, 1996).
  • Chants mongols et bouriates, 1 disque vinyle (LMD 30 138, Vogue, Paris, 1973).
  • Untitled, 1 disque vinyle 78t., (n°109, Melodiya, Ulaanbaatar, années 1950).
  • Untitled, 1 disque vinyle 78t., (n°106, Melodiya, Ulaanbaatar, 1957 ?).

The Bay Horse with Round Hooves

Traditional long song / khöömii / accompanied by Tsogbadrakh, morin khuur fiddle.
—
Sound archive of Mongolian National Public Radio, Golden Fund and Circulation Fund, tape n° 2‑1.31349, Recorded by Dashzeveg, 22/05/1969.

Sundui learns khöömii in Chandmani from Kh. Tseren, who had learned from T. Chuluun. He succeeded Tsedee at the Khovd Theater in 1961. As an actor and singer, he learned bel canto and integrated his vibrato to the khöömii. This phenomenon becomes a school and turned to be the main model to follow for the next generations. Sundui’s younger brother, D. Myagmarjav, holder of rights and information on the work of his elder brother, chose for this album a symbolic piece of the former’s career. In 1961, Sundui won a silver medal at the World Youth Festival in Helsinki, winning a prize at an international event for the first time. The choice of making a difficult melody with khöömii shows the vocal and breathing possibilities of the interpreter. Although Sundui is still considered a model to follow, Ashid, one of his students (CD2-11), notes that his path is beginning to get lost in transmission.

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Khöömii career path:

Learnt khöömii in Chandmani from Kh. Tseren, Sundui entered the Khovd Theater in 1961 as an actor and then joined the National ensemble of Music and Dance in Ulaanbaatar in 1972. Sundui taught khöömii to his family members, to many students, including a woman, Alimaa, who was a singer at the national ensemble.

Musical practice:

Khöömii a cappella or accompanied by other instruments.

Characteristic:

Inventor of the classic vibrato in the khöömii tradition.

Discography:

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique, 2016)
  • Altan üeiin ankhdagchid (Mongol Khöömei kholboo, Ulaanbaatar, 2012).
  • Jargalant Altai. Xöömii and other vocal and instrumental music from Mongolia (PAN 2050CD, Pan records, Leiden, 1996).
  • Mongolian Traditional Music (CD D8207, Auvidis/Unesco, Paris, 1991).
  • Musical Voices of Asia : Mongolia (vinyle n°3, SJL-211, Victor Records, Tokyo, 1979).
  • Instrumental Music of Mongolia / Vocal Music of Mongolia (2 disques vinyles TGS 126 et 127, Londres : Tangent Records, 1977 ; réed. Vocal and Instrumental music of Mongolia, 1 CD TSCD909 1994, Uppingham : Topic records, coll. World Series).

(Name of a character) & the Three‑Year‑Old Black Horse

Traditional short songs / khöömii, guitar.
—
Unpublished. Sound archive of Mongolian National Public Radio, Circulation Fund, tape n°3287, recorded at the radio by Dashzeveg, 07/03/1971.

Pürevdorj is known as singer of the ensemble Khuur Magnai (created in 1991 by J. Badraa). But nobody in the milieu of overtone singing has heard of his talent of khöömii performer. The information found in the radio archives is brief: a tape on which are noted his first name, status as “amateur/volunteer artist”, Zavkhan province and the date of the recording. Found after extensive research, his sister Ts. Tuyaa revives the memory. Pürevdorj is said to have learned the khöömii on his arrival in the capital, alongside other musicians during his participation in cultural events. She recalled their student years in Ulaanbaatar (1968-1972) during which he performed short songs with khöömii, accompanied by his guitar, which are presented here identically. At that time, he often went on radio or television to sing and earn a supplementary income to continue his studies. This rare recording is a proof of the musical experiments undertaken during the Soviet period. Curiously this type of accompaniment for the khöömii did not spread, probably because the guitar is not a Mongolian traditional instrument.

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Musical practice:

Short songs (bogino duu), popular songs (niitiin duu), guitar, khöömii.

Characteristic:

This recording of Pürevdorj making khöömii while playing guitar is a rare archive material.

Discographie

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)

The Sweet blow of the Wind & The Roan Horse

Traditional short song / dandildakh khöömii.
—
Unpublished. Sound archive of Mongolian National Public Radio, Golden Fund and Circulation Fund, tape n° 2.32256 and 2.32257, recorded at the radio by J. Badraa, 19/01/1983.

Although the technique dandildakh (or dangildakh) is now widespread, few khöömii performers know its origin. The family of Khas-Ochir reports that as a child, he learned the khöömii by imitating his uncle Renchin. Later, when he was in the army between 1955 and 1959, he heard a recording of shanz lute (on radio or vinyl). So he got the idea to imitate the play of this instrument by merging the singing, the khöömii and the rhythmic play of the tongue. Thus he created what his entourage in Tes would call dandildakh, upon listening to this novelty. His technique would be crowned with a bronze medal, when Khas-Ochir participated with these two titles at the Festival of Traditional Arts in Ulaanbaatar in 1983. At the moment, he proposed the term dandildakh, but the organizers of the festival refused to use it and replaced it by tagnain tashilt (palatal percussion). Without any literal meaning, the onomatopoetic expression undoubtedly served to describe the sound produced with the tongue, rendering the metallic and ornamental play of the shanz by variations of timbre and tongue beats.

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Khöömii career path:

Transmitted the khöömii and his technique to the members of his family (children, nephews). People from his community are inspired by him to practice the dandlidakh technique.

Musical practice:

Khöömii a cappella, long song (urtyn duu).

Characteristic:

Inventor of the technique dandildakh (or dangildakh). He did not do specific exercises to learn khöömii. One way he used to amplify his khöömii was to use a box of matches: he removed the matches from the box, tore off one side in the width, and placed the rest in front of his mouth to amplify his voice.

Discography:

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)

The Four‑Year‑Old Chestnut Horse & The Grazing Pacer Horse

Traditional long song & traditional short song / tagnain khöömii (palatal khöömii), isgeree khöömii (whistle khöömii) / Bayankhongor theatre orchestra.
—
Unpublished. Sound archive of Mongolian National Public Radio, Golden Fund, tape n° 3‑6.32516, recorded on 24/03/1984.

Contemporary with the master Sundui at a time when the khöömii is still little represented (1960s and 1970s), Pürev remained on the margins of history. Yet, in 1977, he officially became a khöömii performer at the Bayankhongor Theater and made a career of 32 years. According to his wife P. Yumjirmaa and his colleague G. Bazarvaani, when Pürev was a herder, he learned khöömii alone – perhaps by listening to the radio – imitating the sounds of water and wind. The reason he remained little known would come from his elementary education. In the Soviet period, politico-cultural control and censorship would probably have selected some khöömii performers to highlight local specialties that obviously could not be officially shared by everyone and everywhere. Fortunately, the sound archive keeps track of his original khöömii, on which Pürev sometimes varied the height of the drone to adapt to changes of harmony of the orchestra. In this title, Pürev combines two melodies on bass drone with different techniques: tagnain khöömii (palatal khöömii), imitation of water, then isgeree khöömii (whistle khöömii) – a fashionable combination to present the diversity of his practice during the time of one piece.

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Khöömii career path

Pürev transmitted the khöömii to the youngest of his five daughters, about 20 students in his village of Bayanbulag, and others throughout the province, including a woman called Odsüren.

Musical practice

Good whistler, tovshuur lute player, he would make the melody of Eeven gol with a bass drone and his khöömii resembled the water currents. He often improvised by imitating the sounds of nature. When there was a storm, he contracted his voice to imitate the wind. His techniques of khöömii were khargia (deep khöömii), isgeree khöömii (whistled khöömii), tagnain khöömii (palatal khöömii) and narmain khöömii (= khamryn khöömii, nasal khöömii).

Characteristic

Important khöömii performer in his province, remained little known at the national level.

Discographie

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)

The Country of nine Treasures

Arranged by S. Tsednee from a song composed by D. Battömör / R. Davaajav (CD1‑9), D. Tserendavaa (CD1‑1 ; CD2‑2), singing, isgeree khöömii (whistle khöömii), tovshuur lutes / accompanied by M. Tserenchimed, B. Erdenechimeg, J. Enkhtör, S. Tsednee, Ch. Erdenebat, Ts. Davaakhüü, Bayasaa, recitation, singing, morin khuur fiddle.
—
Unpublished. Sound archive of Mongolian National Public Radio, Golden Fund, tape n° 4‑1.32699, recorded on 22/12/1986.

In 1985, the Ministry of Culture launched a call for participation in a competition to select the best ensembles. Wishing to participate and represent his community, S. Tsednee, director of the cultural center of Chandmani district, created the Jargalantyn Tsuurai (The Echo of the Mount Jargalant) group. It is also the first ensemble of khöömii (khöömiin chuulga) named as such, although it did not include only khöömii. Extracted from the group’s first recordings, this piece, created around a poem by P. Badarch, which evokes the beauty of Mongolia, would be the first attempt to mix poetry, magtaal and khöömii. This piece reflects the compositional thinking of the time with the attempt to perform khöömii in unison in a musical arrangement. During its four years of existence, the ensemble had a regional recognition, with a 1st prize in Khovd, then a second prize at the national level in 1988.

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Khöömii career path

See the biographies of D. Tserendavaa (CD1-1) and R. Davaajav (CD 1-9). The group lasted 4 years.

Characteristic

R. Davaajav and D. Tserendavaa would perform khöömii with two voices before joining the group. A text accompanying a brochure of Jargalantyn tsuurai dated 1983 highlights several information concerning the role of this ensemble in Soviet times. There were other musicians who were part of the group, besides the musicians mentioned in the recording; its members would change over the time. With the help of the school of Chandmani and the Soviet pioneers, the ensemble had the mission to develop the learning of overtone singing by leading youth to the most decorated examples as D. Sundui or D. Tserendavaa.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)

The Piebald & The Roan horse

Traditional short song / uyangyn khöömii (melodious khöömii) / Accompanied by B. Altangüül, yoochin zither; G. Gantuyaa, yatga zither.
—
Unpublished. Sound archive of Mongolian National Public Radio, Golden Fund, tape n°17‑5.32602, recording date unknown but prior to 1985.

Came from the same village, Ganbold takes part of the direct lineage of his master Sundui. We find all the characteristics of the style heard previously (CD1-17): a high‑pitched yet low-volume drone in the background and a fine harmonic whistling featuring a prominent and brilliant sound with a hint of vibrato. He performs here two short songs on the theme of the horse, with a khöömii both melodious (uyangyn) and high (nariin). Ganbold claimed this “classical” lineage of Sundui, which was supposed to be different from the teaching promoted at the University of Arts and Culture. He had many students, his sons and nephews (CD1-24 and CD2-14), but also already-confirmed musicians as Ashid (CD2-11). During the 1990s, he was considered to be the best khöömii performer in Mongolia and his family remains one of the most important to hold this tradition.

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Khöömii career path

Influenced by the singers of his family, including his grandfather and father, he learned the khöömii from D. Sundui. Ganbold joined the Military Ensemble as a khöömii performer in 1977, then worked at the National Academic Ensemble of Music and Dance, and finally at the Morin khuur Ensemble. He transmitted the khöömii to his sons and nephews as well as many students who have become professional musicians today. Ganbold founded Khökh tolbo, a private khöömii school in Ulaanbaatar in 2010.

Musical practice

Two types of khöömii: kharkhiraa (deep khöömii) and uyangyn khöömii (melodious khöömii) or nariin khöömii (high khöömii). He also played the ekel and morin khuur fiddles and the tovshuur lute.

Characteristic

In terms of style, he was in direct lineage of D. Sundui. Founder of one of the largest khöömii families in Mongolia. He is among the greatest masters of khöömii.

Discographie

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Altan üeiin ankhdagchid (Mongol Khöömei kholboo, Ulaanbaatar, 2012).
  • All about Mongolia, Mongolian Hoomii is unique of around the world, « Father and son special T. Ganbold & G. Baljinnyam » (autoproduction, Ulaanbaatar, 2005).
  • Mongolian Songs (CD KICC 5133, King Records, Tokyo, 1998).
  • Mongolia. Living Music of the Steppes. Instrumental Music and Song of Mongolia (CD MCM3001, Multicultural Media/JVC, 1997).
  • Mongol höömijn ajalguu (CD, Anorad, Ulaanbaatar, 1997).
  • Jargalant Altai. Xöömii and other vocal and instrumental music from Mongolia (CD PAN 2050CD, Pan records, Leiden, 1996).
  • Talyn Duulal. Le chant des steppes, ensemble Talyn Duulal (CD LBLC 2523, Label Bleu/MCA, Amiens, 1995).
  • Enchanting Mongolia Traditional Music of Mongolia (CD 016, Nebelhorn, Berlin, 1993).
  • Höömii and Urtyn Duu (CD VICG 5211, JVC, 1992).
  • N. Jantsannorov, Eternal Power of the Sky (CD Admon, Ulaanbaatar, 1992).
  • Mongolie, musique vocale et instrumentale (CD W 260009, Inédit/Maison des Cultures du Monde, Paris, 1989).
  • N. Jantsannorov, Manduhai The Wise (Admon, Ulaanbaatar, 1988).
  • Mongolian songs (KICC 5133, King Records, Tokyo, 1988).
  • Mongolian national Melodies, « Khuumii, morin khuur, instrument, songs, magtaal » (CD, Anorad, Ulaanbaatar, date inconnue).
  • Mongolian Höömii (CD 591117, label et date inconnus).

Khöömii

Composed by T. Ganbold, 1988 / tseejnii khöömii (chest khöömii), bagalzuuryn khöömii (throat khöömii), kharkhiraa, ekel fiddle.
—
From the album Mongolia. Vocal and Instrumental Music, CD W260009 Inédit/MCM, 1989, recorded at the Maison des cultures du Monde by P. Simonin, 15 and 17/11/1988. Courtesy of P. Bois, Inédit/MCM label.

The contribution of Master Ganbold in the history of khöömii is invaluable. His recordings remain references for young people who try to follow his steps. It is common to hear khöömii demonstration pieces like this one in most albums or concerts. This habit has a story and Ganbold is partly at the origin. Between the years 1950 and 1980, the place devoted to khöömii in concert was restricted and the khöömii performers often had only one or two titles. This constraint has contributed to the development of a repertoire of demonstration allowing the performers to deploy their technical mastership and virtuosity in a short time. In November 1988, during a series of concerts given at the Maison des Cultures du Monde in Paris, one evening, Ganbold had to reduce his performance. To compensate for this, he had the idea of ​​chaining three kinds of khöömii during the time of a piece. At the beginning, this composition is called “khöömii“. The label Inédit, which published the title shown here, specifies in the booklet that it is a demonstration of three types of khöömii: tseejnii khöömii (chest khöömii), bagalzuuryn khöömii (throat khöömii) and kharkhiraa (deep khöömii). During his stay in Paris, Ganbold also participated in the recording of the film Le chant des harmoniques [The Singing of the harmonics] in which he said that this piece is called Mongol khöömiin kholboo ayalguu. Although widespread in the West, this “experimental” version has remained unknown in Mongolia.

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Khöömii career path

Influenced by the singers of his family, including his grandfather and father, he learned the khöömii from D. Sundui. Ganbold joined the Military Ensemble as a khöömii performer in 1977, then worked at the National Academic Ensemble of Music and Dance, and finally at the Morin khuur Ensemble. He transmitted the khöömii to his sons and nephews as well as many students who have become professional musicians today. Ganbold founded Khökh tolbo, a private khöömii school in Ulaanbaatar in 2010.

Musical practice

Two types of khöömii: kharkhiraa (deep khöömii) and uyangyn khöömii (melodious khöömii) or nariin khöömii (high khöömii). He also played the ekel and morin khuur fiddles and the tovshuur lute.

Characteristic

In terms of style, he was in direct lineage of D. Sundui. Founder of one of the largest khöömii families in Mongolia. He is among the greatest masters of khöömii.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Altan üeiin ankhdagchid (Mongol Khöömei kholboo, Ulaanbaatar, 2012).
  • All about Mongolia, Mongolian Hoomii is unique of around the world, « Father and son special T. Ganbold & G. Baljinnyam » (autoproduction, Ulaanbaatar, 2005).
  • Mongolian Songs (CD KICC 5133, King Records, Tokyo, 1998).
  • Mongolia. Living Music of the Steppes. Instrumental Music and Song of Mongolia (CD MCM3001, Multicultural Media/JVC, 1997).
  • Mongol höömijn ajalguu (CD, Anorad, Ulaanbaatar, 1997).
  • Jargalant Altai. Xöömii and other vocal and instrumental music from Mongolia (CD PAN 2050CD, Pan records, Leiden, 1996).
  • Talyn Duulal. Le chant des steppes, ensemble Talyn Duulal (CD LBLC 2523, Label Bleu/MCA, Amiens, 1995).
  • Enchanting Mongolia Traditional Music of Mongolia (CD 016, Nebelhorn, Berlin, 1993).
  • Höömii and Urtyn Duu (CD VICG 5211, JVC, 1992).
  • N. Jantsannorov, Eternal Power of the Sky (CD Admon, Ulaanbaatar, 1992).
  • Mongolie, musique vocale et instrumentale (CD W 260009, Inédit/Maison des Cultures du Monde, Paris, 1989).
  • N. Jantsannorov, Manduhai The Wise (Admon, Ulaanbaatar, 1988).
  • Mongolian songs (KICC 5133, King Records, Tokyo, 1988).
  • Mongolian national Melodies, « Khuumii, morin khuur, instrument, songs, magtaal » (CD, Anorad, Ulaanbaatar, date inconnue).
  • Mongolian Höömii (CD 591117, label et date inconnus).

Melodic Sequence of Mongolian Khöömii

Composed by T. Ganbold / kharkhiraa, nariin khöömii (high khöömii), shakhaa (pressed voice), khamryn khöömii (nasal khöömii), morin khuur fiddle.
—
Unpublished. Recorded at CIMS Music Entertainment studio, Tokyo, Japan, 02/01/2016.

Baljinnyam, Ganbold’s eldest son, learned khöömii from his father, from the age of six. He interprets here the “finalized” version of the first piece of the demonstration repertoire developed by his father between 1988 and the early 1990s. This interpretation is the most widespread today. The text sung in kharkhiraa announces: “With a respect for all of you, I will show you four kinds of Mongolian khöömii” (Zee, erkhem khündet ta bükhendee, Mongol khöömiin dörvön törliig sonorduuliya). Then he performs a theme in high khöömii (nariin khöömii) at 0’42 and in conclusion at 2’36 with the passages in kharkhiraa in the middle at 1’26, then shakhaa (pressed khöömii) at 1’50, khamryn khöömii (nasal khöömii) at 2’11 followed by a passage in high khöömii, all accompanied by the morin khuur horse-head fiddle. This piece quickly became an essential part of learning, but also a model of creation. Many khöömii performers took the concept and personalized it. In this way, new compositions appeared on the same principle, all of which have contributed to this repertoire of demonstration for more than 25 years.

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Khöömii career path

Baljinnyam learnt the khöömii from his father T. Ganbold. Worked as a soloist khöömii performer at the Tümen Ekh Ensemble in Ulaanbaatar, he currently resides in Japan where he practices his art.

Musical practice

Khöömii, ekel and morin khuur fiddles, lute tovshuur.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • All about Mongolia, Mongolian Hoomii is unique of around the world, « Father and son special T. Ganbold & G. Baljinnyam » (autoproduction, Ulaanbaatar, 2005).

Disc 2

The Clear Benevolent River

Song composed by Ch. Baldan, 1954 / Altain shingen khöömii (high khöömii of Altai).
—
Unpublished. Field recording by J. Curtet, by the Buyant riverside, Khovd Province, 26/08/2009.

In the Soviet period, composed songs were widely broadcast on television, radio and popularized during concerts. Having become hits, many melodies like this one are covered by the khöömii performers. As the Mongols are very attached to their native place, this song is particularly appreciated by the musicians from the province of Khovd, where this river flows. Sengedorj, who succeeds Sundui (CD1-17) at the theater of Khovd city, now retired elder of professional khöömii performers, explains that this benefactor river nourishes most of the inhabitants and animals through several districts in this territory. This melody, interpreted here in high khöömii of the Altai, thus quickly became an essential passage of learning.

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Bonus video of DVD of the film « Masters of Overtone Singing » by J.F. Castell (2010):
Full concert at Musée du quai Branly (12/01/2013):

With the courtesy of musée du quai Branly

Khöömii career path

Self-taught, by imitating the khöömii performers around him, especially the master Sundui. International performance since the late 1970s. Retired since 2009, he built his professional background at the Dramatic Theatre at Khovd city. Sengedorj teaches khöömii to a limited number of people at his home.

Musical practice

Three techniques of khöömii: kharkhiraa (deep khöömii), khamryn kharkhiraa (nasal deep khöömii) shingen khöömii (high khöömii) and lute tovshuur, flute tsuur.

Characteristic

The «baritone khöömii» is the name he gives to his own style. Sengedorj is one of the greatest professional khöömii masters.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades & Buda Musique, 2016)
  • Uuls tuulisyn oron, 2014
  • Dörvön Berkh, Four Shagai Bones, Masters of Mongolian Overtone Singing (PAN 2100, Pan Records, Leiden, 2010).
  • Mongolie, Chants et Morin Khuur (C 560224, Ocora Radio France, 2009).
  • Where Rivers and Mountain Sing. Sound, Music, and Nomadism in Tuva and Beyond (CD du livre de T. Levin et V. Süzükei, Indiana University Press, Bloomington, 2006).
  • Tungalag Buyant (MOCN-0202, Japon, 2002).
  • Mongol Nutgiin Calxi (MOCN-0102, Japon, 2001).
  • The spirit of the steppes: Throat-singing from Tuva and beyond (Nascente NSCD 058, Londres, 2000).
  • Jargalant Altai. Xöömii and other vocal and instrumental music from Mongolia (Pan 2050CD, Pan Records, Leiden, 1996).
  • Mongolie: Musique et chants de l’Altai (Orstom-Selaf Ceto 811, Paris, 1986).

See the other projects in which participated Sengedorj

The Pretty Cream Horse

Traditional long song / khosmoljin khöömii (combined khöömii), ekel fiddle.
—
Field recording by J. Curtet, at Tserendavaa’s yurt, Chandmani, Khovd Province, 30/04/2007.

Usually, execution of the whistle khöömii is devoid of text since the technique of modulation of the oral cavity – the tip of the tongue placed on the palate – does not allow instant pronunciation. To remedy this, Tserendavaa invented the technique khosmoljin khöömii (combined khöömii). Simultaneously with the pronunciation of the text of the long or short songs, realized recto tono on a vocal drone, he associates the melody of the song with the overtone whistle. In addition, he uses diverse modulation techniques that allow varying the timbre during the same piece. The accompaniment of the fiddle is static to support the song. The function of the long song can be didactic and the meaning of the poetry is multiple. Here the poem advises a woman who follows her husband by moving away from her native land.

Photo
Tserendavaa en concert au Centre Mandapa, 2006:
Full concert at Musée du quai Branly (12/01/2013):

With the courtesy of musée du quai Branly

Play Video

Khöömii career path

Apprenticeship in the pastoral way of life by imitating his masters and models. Since 1980s, he’s played all over the world.

Musical practice

Seven techniques of khöömii: uruulyn khöömii (labial khöömii), tagnain khöömii (palatal khöömii), bagalzuuryn khöömii (throat khöömii), khamryn khöömii (nasal khöömii), tseejnii khöndiin khöömii (chest khöömii), khargia khöömii (deep khöömii), khosmoljin khöömii (combined khöömii) and lute tovshuur, horse-head fiddle morin khuur and fiddle ekel.

Characteristic

Innovator of the khosmoljin technique in the khöömii tradition. Member of the “Jargalantyn tsuurai” group (with R. Davaajav), one of the first khöömii ensembles in Mongolia. He is among the rare khöömii performers to keep the nomadic lifestyle besides the overtone singing career, he transmits khöömii tradition to his children, nomads of his region, as well as numerous foreigners on the spot and during his concert tours. He is among the first khöömii performers to start teaching the overtone singing to women.

Discography

  • Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Dörvön Berkh, Four Shagai Bones, Masters of Mongolian Overtone Singing (PAN 2100, 2010, Pan Records)
  • Tserendavaa & Tsogtgerel, Chants diphoniques de l’Altaï mongol (Buda Musique, 2008, Paris)
  • Mongolian Music, Dance, and Oral Narrative (C. Pegg, University of Washington Press, 2001)
  • Chandman’Song, Traditional Mongolian melodies sung in Khoomii (overtone singing) (Amina Records TS001, 2001, Mongolia)
  • Mongolia, Living music of the steppes, instrumental music and song from Mongolia (Multicultural Media MCM 3001, JVC 1997, Japan)
  • Jargalant Altai. Xoomii and other vocal and instrumental music from Mongolia (Pan 2050CD, 1996, Pan Records)
  • Mongol Music, Various artists (Cassette of the Mongolian National Radio)
  • Music and song of Mongolia Live at Cambridge, Various artists (Cassette Global Arts GA1, 1988, UK)
  • Music from Mongolia, Live at the Asia Society, Various artists (Cassette, 1987, USA)
  • Musique et chants de tradition populaire Mongolie, Various artists (Grem G7511, 1985)

See the other projects in which participated Tserendavaa:

 

Praise‑song to Buural Tokhoi

Composed by E. Toivgoo, 1995 / kharkhiraa, nariin khöömii (high khöömii), tovshuur lute.
—
Unpublished. Field recording by J. Curtet, at Toivgoo’s yurt, Ulaangom, Uvs Province, 10/08/2015.

Toivgoo learned khöömii alone by imitating the elders of his region. Self-proclaimed and known to be the king of breath among the khöömii performers, he retains his reputation in this magtaal that he composed. In a single breath, he combines verse and melody of khöömii, alternating the high and bass styles over the text. Dedicated to his family who moved to Ulaanbaatar in 1995, this song about his native land is also meant to make the spirits of the place cheerful. He sings and describes the landscape of his country by the high khöömii (nariin khöömii) inserted between the verses. His style is characterized by a clear and metallic vocal drone of quality.

Photo
E. Toivgoo – Э. Тойвгоо / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол:
Play Video

Khöömii career path

Self-taught, worked as a soloist khöömii performer at the Dramatic Theatre of Uvs for 30 years. Professional musician, he transmitted khöömii to many people, including his son. Charter member of the Altai Khairkhan group, Toivgoo toured multiple times in Europe.

Musical practice

Several techniques of khöömii: kharkhiraa (deep khöömii), zadgai kharkhiraa (open deep khöömii), bituu kharkhiraa (closed deep khöömii), isgeree khöömii (whistle khöömii) and lute tovshuur.

Characteristic

Known as “The king of the breath” in Mongolia, he is the khöömii performer who has the longest respiration. One of the first to teach khöömii to women.

Discographie

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Whistle in the Wind, Mongolian Overtone Singing, Altai Khairkhan ensemble (Window to Europe/Noord Azië Instituut Tengri, 2003).
  • Musique et Chants de Tradition Populaire, Mongolie (CD G7511, Grem, Saint Mandé, 1986).
  • Altai Khairkhan, Mongolian Overtone Singing (DVD, autoproduction, Ulaanbaatar, 2008 ou 2009).

See the other projects in which participated Toivgoo:

The River Tes

Composed by O. Otgonkhüü, 1998 / shakhaa (pressed voice), kharkhiraa, isgeree khöömii (whistle khöömii), dandiltai isgeree khöömii (whistle khöömii with dandildakh), kharkhiraatai isgeree (whistled kharkhiraa), shuluun khöömii (straight khöömii), khamryn khöömii (nasal khöömii), dombra lute.
—
Unpublished. Field recording by J. Curtet, at Ch. Mönkhsanaa’s home, Gachuurt, east of Ulaanbaatar, 22/09/2015.

Otgonkhüü was initiated into khöömii by his uncle Mönkhsanaa (CD1-6), and then learned from Toivgoo (CD2-3). At the same time, he listens to the music of the documentary Genghis Blues of the famous Tuvan khöömii performer Kongar-ool Ondar, who influences his practice. This piece is composed on the basis of a song by Ondar and a text by the poet Bayansan. Otgonkhüü praises Tes, his native land, situated at the confluence of several rivers. After a free introduction, he chains up many techniques between the verses sung in pressed voices or kharkhiraa, such as: isgeree khöömii at 1’27; dandiltai isgeree khöömii at 2’08 (kind of dandildakh, CD1-19); kharkhiraatai ​​isgeree (whistled kharkhiraa) at 2’32 concluded by a shuluun khöömii (straight khöömii) with trills; isgeree khöömii at 3’15; khamryn khöömii (nasal khöömii) at 3’47 ending on the high style. For Otgonkhüü, Tes gol is the child of the Tuvan and Mongolian khöömii, in which he demonstrates these two approaches as parallel equals. He categorizes his technique in the line of Sundui and Ganbold for the fineness and precision of high-pitch, and that of the Tuvans for the rest.

Photo
O. Otgonkhüü – О. Отгонхүү / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол
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Khöömii career path

The first people who made khöömii that Otgonkhüü heard when he was 6 years old, were his mother’s side uncles, the wrestlers Ats Dash and Gedger Baatar, who were using a bowl as a resonator.

Musical practice

Khöömii, lutes tovshuur and dombra, limbiin isgeree (whistling of flute).

Characteristic

Synthesis of the Mongolian and Tuvan khöömii styles.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)

Praise‑song to Kharkhorin

Composed by A. Erdenekhüü, 2015 / singing, tseejnii khöömii (chest khöömii), tovshuur lute.
—
Unpublished. Field recording by J. Curtet in a house, Kharkhorin, Övörkhangai Province, 07/09/2015.

Erdenekhüü is among the khöömii performers far from the Altai, who, from central Mongolia, learned the khöömii by listening to the radio. Inspired by Chimeddorj (CD1-16), he developed his practice by himself, while meeting with other traditional musicians with whom he shared the repertoire of praise-songs. As early as 1991, a year after Mongolia’s transition to capitalism, the governor of Kharkhorin asked him to perform for tourists. Little by little, Erdenekhüü develops his artistic practice in this context and will become one of the first musicians to live exclusively on his music through tourism. He founded the ensemble Erdene Zuu, in homage to the local monastery of the same name. His musical activity benefits from the strong attractiveness of the region. In 2015, he composed this magtaal in honor of his city. The use of chest khöömii (tseejnii khöömii) between the verses serves as musical ornament.

Photo
A. Erdenekhüü – А. Эрдэнэхүү / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол:
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Khöömii career path

Several people practiced khöömii in his area, such as Damchaa Sosor, Namsrai Paalai and his father, but without mastering the modulation technique. It was by listening to Chimmedorj on the radio that he learned as an autodidact, and continued to train during his military service.

Musical practice

Khöömii, praise song (magtaal), ode (erööl), lute tovshuur, mouth harp.

Characteristic

First khöömii performer to make a living from khöömii exclusively with tourism.

Discography

  • Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Ayurzanyn Erdenekhüü. Erööl magtaal (CD autoproduction, Kharkhorin, 2015).
  • A. Erdenekhuu. Mongolian khuumii. Delicate Melodies from Mongolian steppes (CD C-World, Ulaanbaatar, 2013 réed. 2014).
  • Nomadic Winds, Delicate Melodies from the Mongolian Steppes : ensemble Erdene Zuu (CD DC 854722, Disky Communications, Kharkhorin, 1999).
  • Folk Music from Mongolia/Karakorum : ensemble Karakorum (CD, Internationales Institut für Traditionelle Musik/Hamburgisches Museum für Völkerkunde, Berlin, 1993).
  • White Moon. Tsagaan Sar, ensemble Melody of the steppes (CD PAN 2010CD, Pan Records, Leiden, 1992).
  • Erdene zuu hamtlag. Nomadic Winds 2 (CD autoproduction, Kharkhorin, date inconnue).
  • Nomadic Winds 3, ensemble Erdene Zuu (CD autoproduction, lieu et date inconnus).

Wind Horse

Composed by D. Batsükh, 2015 / singing, khöömii, kargyraa, sygyt, toshpuluur lute.
—
Unpublished. Field recording by J. Curtet, at Batsükh’s home, Tsengel, Bayan‑Ölgii Province, 01/09/2015.

Initiated by Papizan (CD1-3, 4) in Tsengel and then by T. Aldar during his studies in Kyzyl in Tuva, Batsükh represents the next generation of khöömii in his village. Bringing his own compositions to the repertoire, he created this praise to his native country from a poem on vivacity, written by J. Gerel, for the occasion of the local Tuva Naadam in 2015. Accompanied by a lute he made, he sings in clear voice, kargyraa (Tuvan kharkhiraa) then pressed voice, and presents the tree Tuvan basic styles : sygyt (close to whistle khöömii) at 0’58; khöömii (close to shuluun khöömii) then sygyt to 2 ‘; kargyraa at 3’33; and again sygyt at 4’36, with a color specific to the Tuvans of Tsengel. Due to the impossibility of making a living from his art in his village, Batsükh is currently working at a mine, a new alternative in rural life.

Photo
D. Batsükh – Д. Батсүх / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол :
Play Video
Papizan & Batsükh / Папизан, Батсүх хоёр / TEASER :
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Papizan & Batsükh / Папизан, Батсүх хоёр / Festival Les Détours de Babel :
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Cycle Mongolie des Ateliers d’ethnomusicologie – Le chant des steppes – Genève – avril 2015 :
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Khöömii career path

Initiated by Papizan, learnt khöömii with his brother Bütemj, then developed himself by listening to the recordings. Graduated from the Music College of the Tuva Republic, he mainly attended the courses of Aldar Tamdyn and learned the craftsmanship of Tuvan traditional instruments.

Musical practice

Several techniques of khöömii, in Mongolian and Tuvan styles: khöömii, isgeree (whistle khöömii), kharkhiraa (deep khöömii), ezengileer, borbagnadyr and fiddle igil, lute toshpuluur.

Characteristic

Taught music at the secondary school of his village until 2014. Currently works in the mining. Instrument maker.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)

See the other projects in which participated Batsükh:

The Four‑Year‑Old Chestnut Horse

Traditional long song / isgeree khöömii (whistle khöömii), isgereetei kharkhiraa (whistled kharkhiraa), yatga zither.
—
Unpublished. Field recording by J. Curtet, Ceremonial House, Ulaangom, Uvs Province, 09/08/2015.

Undarmaa, a former student of Odsüren (CD1-12) at the National University of Mongolia, grew up on a land of khöömii, and is a part of the generation who no longer necessarily learns first from the local elders. She worked for several years as a professional khöömiich at the National Academic Ensemble of Music and Dance before pursuing her musical studies in South Korea. By taking up the air of a basic long song, a passage required at the beginning of learning, Undarmaa performs: isgeree khöömii (whistle khöömii) at 0’21, 1’52 and 3’07; isgereetei kharkhiraa (whistled kharkhiraa) at 2’30. She accompanies her khöömii with the yatga zither – model with 21 strings and plays it with improvisation. According to her, the feminine khöömii is higher-pitched than that of men. Everyone remains in his register, but the women are finer.

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Khöömii career path

She studied yatga zither for seven years at the College of Music and Dance. Upon entering the National University of Mongolia in art history, she chose the course of khöömii with B. Odsüren as option. Undarmaa worked for a few years at the National Academic Ensemble of Music and Dance as a khöömii performer. Graduated from musicology at a university in South Korea, she continued to learn overtone singing alone.

Musical practice

Khöömii, zither yatga.

Characteristic

Performing khöömii while playing the yatga zither is not a widespread practice.
Undarmaa prefers to make the khöömii of the melodies of folk songs (ardyn duu), classical music, and foreign tunes.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Khoomei singer (CD autoproduction, Ulaanbaatar, 2008).

Urban Sounds

Various kinds of vehicles, engines, horns, passers‑by and birds.
—
Unpublished. Field recording by J. Curtet, outdoor cafe, Sansar district, Ulaanbaatar, 17/09/2015.

In echo to the track 14 of the CD1, this recording in the heart of the capital reflects the daily life sound – almost uninterrupted – of its inhabitants. According to the teacher Odsüren, whatever your environment is, you have to imitate the sounds around you to learn khöömii. This works also for the city‑dwellers.

The Homeland of Eternal Existence

Composed by N. Jantsannorov (born in 1949), 1989 / khöömii, kharkhiraa / Various national orchestras and choirs.
—
From the original soundtrack of the film Mandukhai Setsen Khatan (Mandukhai the Wise Queen, B. Baljinnyam, 1989), Ulaanbaatar: Admon, 1988. Recorded by B. Sambuu, Mongol Kino Studio, Ulaanbaatar, 05/02/1988. Courtesy of N. Jantsannorov.

Monument to Mongolian culture and music, Jantsannorov also marked the history of khöömii with his film music. With the soundtrack of Mandukhai Setsen Khatan, he was the first Mongolian composer to integrate the khöömii into a symphonic orchestra. Jantsannorov discovered the khöömii at a concert of Sundui (CD1-17) in Ulaanbaatar in 1967. He sees it as a wave rather than a melody, as something related to nature and ritual rather than an artistic form in its own right. With the desire to attribute it a repertory, he decided to integrate it to his work. This contribution is for him a way of marking and expressing the musical identity of the Mongols. Born from an observation that Mongolian music must now follow its own path – instead of copying Russian fashion, this soundtrack became a reform. Jantsannorov used here the khöömii for its timbre to represent the Mongolian cultural identity.

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Musical career path

At the age of 18, Jantsannorov was a student of the composer Gonchigsumlaa in preparatory course to study the music composition in Ulaanbaatar. He then went to the University of Music of Kiev for 6 years in composition (1973 to 1979). In 1979, he became the Head of Arts and Music Department at the Ministry of Culture in Mongolia. From 1980 to 1985, he worked as a responsible in charge of the arts at the Central Committee of the Party. In 1990, Jantsannorov became the first Deputy Minister of Culture. From 1996 to 2000, he headed the Department of Culture at the Ministry of Education (the Ministry of Culture no longer existed). In 2005, he defended a doctoral thesis in musicology. Up till then, he created his musical works that are already prolific, on his free time. Since 1992, he has composed for the Morin khuur Ensemble over fifty works, or 80% of the ensemble’s current repertoire. The important positions in politics that Jantsannorov obtained allowed him to enhance traditional music. With the famous ethnomusicologist J. Badraa, he contributed in organizing the first festival of traditional arts in 1983. Up to then, according to Jantsannorov, the arts were still inspired by Russia. Thanks to this festival, public awareness and interest in traditional arts such as khöömii and traditional dance have only increased over time. In 1985, as Director of the Association of Mongolian Composers, he organized the Symposium ‘Asian Musical Tribune’ in collaboration with France. The ethnomusicologist Trân Van Khê was the main organizer representing UNESCO. 14 participating countries were invited for one week. For Jantsannorov, this event was a first step towards making Mongolian traditional music known internationally and making foreign music more widely known in Mongolia. He was involved in several projects to enhance the intangible cultural heritage of Mongolia, including the morin khuur and the long song (urtyn duu) which are inscribed on the UNESCO lists.

Musical practice

Long song (urtyn duu), piano, composition (chamber music, symphony, music of film, song).

Characteristic

First composer who used the khöömii with an orchestra in a symphonic writing.

Discographie

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Burkhan Khaldun örshöög (Admon, Ulaanbaatar, 1998).
  • Mandukhai setsen khatan (Admon, Ulaanbaatar, 1988).

Website of Jantsannorov:

jantsannorov.com

Let the Mount Burkhan Khaldun Bless You

Composed by N. Jantsannorov, 1998 / melodious khöömii, kharkhiraa / Morin Khuur Ensemble.
—
From the album Burkhan Khaldun örshöög, soundtrack of the film Mönkh Tengeriin Khüchin Dor (Under the Power of the Eternal Sky, B. Baljinnyam, 1992). Ulaanbaatar: Admon, 1998. Recorded by L. Khayankhirvaa, Mongolian National Public Radio, 29/03/1998. Courtesy of N. Jantsannorov.

Jantsannorov confronted the difficulty of working with classical musicians and those from the oral tradition. Since the music is written, in order to learn the extract to make it with khöömii, Ganbold (CD1-22, 23) had to stand next to the piano of the composer, who told him the good drone to take and help him to memorize. For Jantsannorov, khöömii has nothing to do with singing. He uses it as a musical instrument, produced by the throat. In this part of the film we see Genghis Khan, the main character, returns from his conquests. His joy to find his native land is expressed by the khöömii and the morin khuur fiddle. Having the ambition of an international diffusion, the composer had to Europeanize the arrangements, while keeping the Mongolian aspect of the melodies. Recorded after the creation, this version is arranged by the Morin Khuur Ensemble – for which Jantsannorov composes – with the original soloist who performs the main theme with khöömii. The film soundtracks and much more other instrumental music have become indispensable parts of the khöömii repertoire.

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Musical career path

At the age of 18, Jantsannorov was a student of the composer Gonchigsumlaa in preparatory course to study the music composition in Ulaanbaatar. He then went to the University of Music of Kiev for 6 years in composition (1973 to 1979). In 1979, he became the Head of Arts and Music Department at the Ministry of Culture in Mongolia. From 1980 to 1985, he worked as a responsible in charge of the arts at the Central Committee of the Party. In 1990, Jantsannorov became the first Deputy Minister of Culture. From 1996 to 2000, he headed the Department of Culture at the Ministry of Education (the Ministry of Culture no longer existed). In 2005, he defended a doctoral thesis in musicology. Up till then, he created his musical works that are already prolific, on his free time. Since 1992, he has composed for the Morin khuur Ensemble over fifty works, or 80% of the ensemble’s current repertoire. The important positions in politics that Jantsannorov obtained allowed him to enhance traditional music. With the famous ethnomusicologist J. Badraa, he contributed in organizing the first festival of traditional arts in 1983. Up to then, according to Jantsannorov, the arts were still inspired by Russia. Thanks to this festival, public awareness and interest in traditional arts such as khöömii and traditional dance have only increased over time. In 1985, as Director of the Association of Mongolian Composers, he organized the Symposium ‘Asian Musical Tribune’ in collaboration with France. The ethnomusicologist Trân Van Khê was the main organizer representing UNESCO. 14 participating countries were invited for one week. For Jantsannorov, this event was a first step towards making Mongolian traditional music known internationally and making foreign music more widely known in Mongolia. He was involved in several projects to enhance the intangible cultural heritage of Mongolia, including the morin khuur and the long song (urtyn duu) which are inscribed on the UNESCO lists.

Musical practice

Long song (urtyn duu), piano, composition (chamber music, symphony, music of film, song).

Characteristic

First composer who used the khöömii with an orchestra in a symphonic writing.

Discographie

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Burkhan Khaldun örshöög (Admon, Ulaanbaatar, 1998).
  • Mandukhai setsen khatan (Admon, Ulaanbaatar, 1988).

Website of Jantsannorov:

jantsannorov.com

Goat Boodog

Composed by Z. Khangal (1948‑1996) / isgeree khöömii (whistle khöömii), kharkhiraa / Morin Khuur Ensemble.
—
From the album Wonder Land, Ulaanbaatar: self‑produced, 2002. Courtesy of N. Ashid.

Established in 1992, Morin Khuur Ensemble plays an important role in the interpretation of classical Mongolian works and creations. Taken from its repertoire, this unusual composition of Khangal is written for khöömii, morin khuur quartet, yatga and yoochin zithers, and percussions. The composer sought novelty: the rhythmic is irregular; the harmony with the dissonances of seconds played by the 2nd and 3rd horse-head fiddles, the scale comes out of the traditional pentatonic system. Performed with khöömii for the first time by Ganbold, the difficulty of this title was to modulate semitones. Ashid strives to maintain the aesthetic lineage of his masters Sundui (CD1-17; CD2-9) and Ganbold (CD1-22, 23; CD2-9, 10). The timbre forged by this school is now characteristic of the Mongolian professional khöömii: above the harmonic whistling appears a silky and metallic sound thanks to the colour sought in the vocal drone.

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Khöömii career path

One year after beginning to learn morin khuur fiddle, Ashid got interested in khöömii. At that time, few people practiced khöömii in Ulaanbaatar. He tried to imitate the khöömii performer B. Battömör (Cousin of Egschiglen’s Amartüvshin) and learnt a time from Baatarsüren, a student from Chandmani, who introduced him to the retired teacher, the great master D. Sundui. From 1997 to 1999, Ashid was his student. That same year, he entered as morin khuur player and khöömii performer to the Morin khuur Ensemble. There he met T. Ganbold, khöömii soloist of the Ensemble, with whom Ashid improves his practice for a year. Then he continued his training with Ganbold from 2006 to 2009 at his private school in Ulaanbaatar, Khökh tolbo. Ashid continues his solo work with the Morin khuur Ensemble and performs all over the world.

Musical practice

Khöömii, morin khuur fiddle.

Characteristic

Ashid mainly makes the khöömii of current Mongolian musical works, composed or arranged for the Morin khuur Ensemble.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • A. Davaazorig. Echo, Morin khuur & Khuumii, ethnic & folk (CD autoproduction, Ulaanbaatar, 2008)
  • My Motherland (CD EA-2104, B. Batjargal, Ulaanbaatar, 2004)
  • Mongolian Morin Khuur Ensemble (CD EA-1503 Morin Khuur Ensemble, Ulaanbaatar, 2003)
  • Wonder Land (CD 001 autoproduction, Ulaanbaatar, 2002)

Website of the Morin khuur Ensemble (in Mongolian):

www.mgl-philharmonic.com/pages/морын-хуурын-чуулга

The Full Moon

Traditional short song / kharkhiraa, isgeree khöömii (whistle khöömii) / programming, arrangement of traditional instruments made with Altankhuyag.
—
From the album Setgeliin egshig – Melody of Soul, Ulaanbaatar: self‑produced, 2011. Courtesy of N. Naranbadrakh.

Student of Sundui (CD1-17; CD2-9) and Odsüren (CD1-12), Naranbadrakh became a freelance khöömiich, after having performed as a soloist in the National Academic Ensemble of Music and Dance. One day, he listened to a recording on which Sundui performed with khöömii a piece of Tchaikovsky accompanied by a yoochin zither. This listening was decisive because the particularity of Naranbadrakh is in the modernity and the search for experiments. For him, in the twenty-first century, one must know how to follow his time: traditional music can be appreciated as such, but it must also be disseminated with what young people listen to. Here Naranbadrakh performs a short song in isgeree khöömii (whistle khöömii)on an arrangement created in studio with computer and traditional instruments, in a style that matches the taste of the general public in Mongolia.

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Clip of Arvan tavny sar by Naranbadrakh:
Play Video

Khöömii career path

He discovered the khöömii with Möngönshagai who made it outside near the cultural center of Khan Uul district in Ulaanbaatar. Thanks to this person, he met the master D. Sundui from whom he learnt for two months. But because of the health issue of Sundui, he had to find another teacher. Naranbadrakh attended khöömii classes at the Mongol Gaikhamshig School, and graduated among the first students. In parallel, he also trained by listening to the CDs of T. Ganbold, and practicing over it, no matter what the result. From 2002, he worked as a khöömii soloist at the National Academic Ensemble of Music and Dance for 8 years.

Musical practice

Khöömii a cappella.

Characteristic

Even if he mastered several techniques, he highlights the high khöömii style. He wishes to disseminate khöömii and traditional arts to the larger public through the fusion with today’s musical genres on trend.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Setgeliin egshig, Melody of Soul (CD autoproduction, Ulaanbaatar, 2011)
  • Khaan melodies of Great-Mongolia (CD EA-4106, Mongolian Art Supporting Foundation, Ulaanbaatar, 2006)
  • Falcon King, « Throat and overtone songs by Chonos N. Naranbadrakh » (CD autoproduction, Ulaanbaatar, 2005)
  • Chavkhdas. Morin Khuur Quartet (CD CHUGU-11 autoproduction, Ulaanbaatar, 2003)

Perfect Qualities

Song composed by D. Danzanravjaa (1803‑1856) / high khöömii of the Altaï, palatal khöömii, combined khöömii / orchestra of the National Academic Ensemble of Music and Dance.
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From the album Mongolian Throat Singing, Ulaanbaatar: self‑produced, 2011. Recorded by Sükhee. Courtesy of Ts. Tsogtgerel.

Tsogtgerel represents the synthesis of the rural style of his father Tserendavaa (CD1-1,21; CD2-2) and the university style of Odsüren (CD1-12). Coming from the first graduating class of professional khöömii performers at the University of Arts and Culture (2009), he joined the National Academic Ensemble of Music and Dance. Accompanied here by this orchestra of traditional instruments based on the symphonic model, he performs a difficult melody, rarely executed with khöömii because of its complexity and its large intervals. This song is of great spirituality. It is said that singing 3 or 5 of its verses is equivalent to reciting 1000 mantras. In the style of the high khöömii of the Altai, Tsogtgerel uses fast trills to ornament the melody (tagnain khöömii) and performs a passage in khosmoljin khöömii (combined khöömii) at 1’42, recalling his family style.

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Bonus video of DVD of the film « Masters of Overtone Singing » by J.F. Castell (2010):
Play Video

Khöömii career path

He started learning khöömii when he was 13 years old, from his father Tserendavaa in the pastoral life. Moving from 5 to 6 times a year between the Mount Jargalant Khairkhan and Khar-Us lake and keeping the family herd, Tsogtgerel listened and imitated his father and gradually mastered his overtone techniques. At the age of 16, Tsogtgerel was sent by his father to the University of Culture and Arts in Ulaanbaatar to learn khöömii with another master, B. Odsuren. Tserendavaa wanted his son to go beyond enriching what he learnt from him, but above all, to get a professional degree of khöömii performer to ensure himself a good career. He first learnt the fiddle from his father, and then from Duvchin, one of the last teachers kept the Western style of play of this instrument. Tsogtgerel currently works as an overtone singer at the National Academic Ensemble of Song and Dance in Ulaanbaatar. Besides his work, he regularly teaches khöömii in Inner Mongolia (China).

Musical practice

Khöömii, fiddle morin khuur, flute tsuur, lute tovshuur and mouth harp tumur khuur.

Characteristic

Synthesis of the styles of his father Tserendavaa and of his teacher Odsüren.

Discography

  • Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Mongolian Throat Singing (CD autoproduction, Ulaanbaatar, 2011).
  • Mongolie, Chants et Morin Khuur (CD C 560224, Ocora Radio France, Paris).
  • Tserendavaa et Tsogtgerel. Chants Diphoniques de l’Altaï Mongol. Xoër Altai (CD/DVD 3017742, Buda Musique/Routes Nomades, Paris, 2008).
  • Tserendavaa et Tsogtgerel, chant diphonique de l’Altaï mongol (CD RN01, Routes Nomades, Coulaines, 2006).

See the other projects in which participated Tsogtgerel:

The Wind from the Steppe

Arrangement based on Main Theme (Mongol Hordes: Storm from the East) composed by I. Tomita (1992), extracts from the poem Minii Mongol by R. Choinom / Amartüvshin Baasandorj (1976, Khalkh, Chandmani), kharkhiraa, shakhaa / accompanied by Ts. Sarangerel, yoochin, singing; M. Tümenbayar, J. Tömörsaikhan, morin khuur; Ts. Uuganbaatar, ikh khuur; V. Batbold, percussions.
—
From the album Zazal, HE10, Cologne: Heaven & Earth, 2004. Recorded by P. Weigelt at Grenzland Studio, 2000. Courtesy of Egschiglen and Heaven & Earth.

In the early 1990s, several young Mongolian musicians toured Europe. Some decided to live there to fully make a living from the “world music” network. In Germany, Egschiglen is one of those pioneers. The group changed the musicians several times, of which “dissidents” founded the ensembles Khukh Mongol, Hosoo & Transmongolia and Bœrte. Egschiglen highlights an alternate or fusion style of traditional and classical Mongolian music. Although the ensemble is made up of only six members, the musicians work to develop all the possibilities to restore the pieces usually performed by larger orchestras. In this title, they added an innovative accompaniment of Mongolian percussion. The virtuoso Amartüvshin, who learned khöömii from his father Baasandorj, his elder brother Battömör and his uncles Ganbold (CD1-22, 23, CD2-9, 10) and Gereltsogt, brings here for the first time the influence of rap sung with kharkhiraa. Egschiglen’s inventions and arrangements are well-known and each disc release finds an echo in Mongolia – sometimes students perform their new repertory as it is. This cover was inspired by the main theme of the documentary Mongol Hordes: Storm from the East (1993).

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Cycle Mongolie des Ateliers d’ethnomusicologie – Le chant des steppes – Genève – avril 2015 :
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Biography of Amartüvshin Baasandorj

Birth

1976, district of Chandmani, province of Khovd. Ethnic group Khalkh.

Khöömii career path

Learnt khöömii with his father Baasandorj, his elder brother Battömör and his uncles Ganbold & Gereltsogt. Professional khöömii performer of Egschiglen group in Germany.

Musical practice

Five techniques of khöömii: kharkhiraa (deep khöömii), shakhaa khöömii (pressed khöömii), nariin khöömii (high khöömii), khamryn khöömii (nasal khöömii), khosmoljin khöömii (combined khöömii), lute tovshuur, horse head fiddle morin khuur.

Characteristic

Khöömii bearer belonging to the direct lineage of the master Ganbold and his brother Gereltsogt, Amartüvshin is known by the elegance and subtlety of his khöömii.

Discography

  • An Anthologie of Mongolian Khöömii (Routes Nomades/Buda Musique, 2016)
  • Kyriakos Kalaitzidis & En Chordais, The Musical Voyages of Marco Polo (World Village, Harmonia Mundi, 2014).
  • Bishirtugei, ayuutugai (autoproduction, Ulaanbaatar, 2009).
  • Egschiglen, Gereg (HE 17, 2Heaven and Earth, 2007).
  • La route musicale de la Soie, The Musical Silk Road (AC10, Accords Croisés, 2004).
  • Egschiglen, Zazal (HE10, Heaven and Earth, 2004).
  • Egschiglen, Sounds of Mongolia (EUCD 1652, Arc Music, 2001).

Website of Egschiglen:

www.albakultur.de/zeigeegschiglen.html

Praise‑song to Chingis Khaan

Composed by J. Mönkhbat, 1992 / kharkhiraa, morin khuur fiddle / accompanied by D. Mönkhnasan, yatga zither.
—
From the album Black Horse, Ulaanbaatar: self‑produced, 2001. Recorded at RITM Studio. Courtesy of J. Mönkhbat.

The practice of khöömii is not reserved exclusively to khöömii performers identified as such. In their musical entourage, many morin khuur players, for example, add another string to their bow, by using the kharkhiraa or the pressed voice to sing the praise-songs. If Mönkhbat is one of them, he is mostly recognized for the quality of the magtaal he composes, often taken up and rearranged by the khöömii performers who add long passages of overtone singing. As a real hit in the khöömii milieu, this praise to Genghis Khan is a good example. It is the original version, played in duet by Mönkhbat and his wife, with whom he founded the group Khar Mori – more known abroad under the name ‘Black Horse’. According to Mönkhbat, what matters in the execution of the magtaal is to keep a clear timbre and well articulate to convey a comprehensible text.

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Khöömii career path

Son of renowned singer of praise song and morin khuur fiddle player Tserendorj from the Gobi region, Mönkhbat has been surrounded by traditional music since his early childhood. From his 9 years old, he started learning the tsokhilgon tovshuur and singing the praise-songs of his father with this instrument. Then he started learning morin khuur, horse-head fiddle. He entered to music school in 1985 and graduated in 1989. Between 1991 and 1992, he participated in the First Contest of the Singers of Praise and Odes with his first composition of praise-song entitled Praise to Chingis Khaan, which won the first prize. Mönkhbat had already heard the kharkhiraa (deep khöömii) of the performer Bayarbaatar in the early 1990s. He decided to integrate it into his praise-song, so he learnt this style by listening and reproducing himself. Later, he founded the ensemble Khar Mori (Black Horse) with which he toured in Japan and Holland. Mönkhbat has been teaching the morin khuur horse-head fiddle at the University of Arts and Culture since 2006.

Musical practice

Morin khuur fiddle, singing praise-song magtaal, composition.

Characteristic

He practices the kharkhiraa to sing the praise-songs that he composed.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Black Horse (CD autoproduction, Ulaanbaatar, 2001).

Mongolian Naadam

Composed by N. Ganzorig, 2002 / Ganzorig Nergüi (1974, Khalkh, Züünkharaa, Selenge), khöömii, kharkhiraa, morin khuur fiddle, percussion / Accompanied by M. Ganbold, morin khuur.
—
From the album Khuumei, magtaalchi, Ulaanbaatar: self‑produced, 2009. Courtesy of N. Ganzorig.

Ganzorig belongs to the second generation of autodidacts who have learned khöömii by listening to the recordings of Sundui (CD1-17, CD2-9), Ganbold (CD1-22, 23, CD2-9, 10) and others on radio and television. He is also one of the musicians who set out to conquer Europe, where he spent a long time with Altai Khangai band. The ensemble specializes in arrangements and compositions of magtaal. In the album Naadam released in 2006, Ganzorig brings his first creation, Mongol Naadam, presented here in a rearranged version. He usually employs many khöömii ornaments (trills, beats) and his kharkhiraa can go down very low. The passages of khöömii serve as ornamentation to the praise and allow him to show the diversity of his techniques. He integrates here the shamanic drum, more and more used by the current groups, following the model popularized by the Tuvans of Huun Huur Tu. Such musical association is also a matter of identity, to recall a part of Mongolian culture. This does not mean that the khöömii performers are shamans or practicing a shamanic chanting, contrary to what foreigners could imagine.

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Bonus video of DVD of the film « Masters of Overtone Singing » by J.F. Castell (2010):
Full concert at Musée du quai Branly (12/01/2013):

With the courtesy of musée du quai Branly

Cycle Mongolie des Ateliers d’ethnomusicologie – Le chant des steppes – Genève – avril 2015 :
Play Video

Biography of Ganzorig Nergui

Birth

1974, district of Züünkharaa, province of Selenge. Ethnic group Khalkh.

Khöömii career path

Self-taught, from the age of 15 by listening to the radio and the recordings of some masters of khöömii, such as Sundui and Ganbold. Charter member of the Altai-Khangai group.

Musical practice

Several techniques of khöömii: uruulyn khöömii (labial khöömii), bagalzuuryn khöömii (throat khöömii), khamryn khöömii (nasal khöömii) and kharkhiraa (deep khöömii) and lute tovshuur, horse-head fiddle morin khuur, flute tsuur and mouth harp khulsan khuur (in bamboo) and tömör khuur (in metal). Professional musician.

Characteristic

Compositions of praise-songs magtaal, with many innovations brought to the overtone technique.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Ongod (Full Rhizome/Buda Musique, 2013).
  • Dörvön Berkh, Four Shagai Bones, Masters of Mongolian Overtone Singing (PAN 2100, Pan Records, Leiden, 2010).
  • Mongolie, Chants et Morin Khuur (C 560224, Ocora Radio France, Paris, 2009).
  • Naadam (CD autoproduction, Ulaanbaatar, 2006).
  • Melodious Tree (CD AKA09001 autoproduction, France, 2000).
  • Gone with the Wind. Songs of mongolian steppes (CD WTE CD002, Window to Europe, 1998).
  • Naariits Bülye. Let’s Dance. Mongolian khuuryn tatlaga (CD Pan 2061, Pan Records, Leiden, 1997).

See the other projects in which participated Ganzorig:

My Mother

Song composed by E. Choidog / isgeree khöömii (whistle khöömii).
—
Entitled My Mother, from the album Transmongolia. Throat Singing From Mongolia, self‑produced, 2004. Recorded and mixed by M. Fischer (Horos), Dresden, Germany. Courtesy of Hosoo.

Hosoo learned khöömii alongside his mother’s side uncle Sundui (CD1-17, CD2-9). After having performed for the ensemble Tümen Ekh in the capital, then with Egschiglen and Uyanga in the late 1990s in Germany, he settled there and led a solo career while founding Hosoo & Transmongolia. In the style of his lineage, he maintains the virtuosity of his uncle, with a low-pitched drone in the background, going always higher in harmonic modulation. Minii saikhan eej is the tune of a song well known to the Mongols. Hosoo takes advantage of the studio technologies to double his khöömii and give an effect of space thanks to the reverberation.

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Khöömii career path

Nephew of the great master Sundui, Khosbayar learnt khöömii in a family circle. Started his career in 2003, he played for the groups as Mandukhai, Uyanga and Egschiglen. Charter member of Hosoo & Transmongolia group, he taught khöömii in different countries.

Musical practice

Khöömii, morin khuur fiddle, lute tovshuur.

Characteristic

His khöömii is produced in a very high harmonic tessitura.

Discographie

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Das Wesentliche, ensemble Transmongolia (CD autoproduction, Transmongolia Music Management, 2011).
  • Gesang des Himmels, ensemble Transmongolia (CD 020 505, Transmongolia Music Management, 2005).
  • Roaring Hooves best of vol. 1 (CD RH-CD001, Avinth Musik/Medienproduktion, Freiburg, 2005).
  • Transmongolia, « Throat singing from Mongolia », ensemble Transmongolia (CD, Horos, 2004).
  • Hosoo, Höömijn Domog, « Die Höömij-Legende » (CD, Hosoo/Roland Barkey, Hamburg, 2001).
  • Altai, « Throat singing from Altai-Mongolia » (CD 398 50402, Blue Flame Records, Stuttgart, 2000).
  • The traditional music of Mongolia, 1, ensemble Uyanga (CD UYA2/1198 LC 04457, Musikwerkstatt, 1998).
  • Egschiglen, Gobi (CD HE4, Heaven and Earth/Radio Bremen, 1997).

Website of Hosoo:

www.hosoo.de/index_en.php

Having Them Hear

Composed by Altan Urag, 2009 / Oyuunbileg Pürevjal (1982, Khövsgöl) Chimedtogtokh Magsarjav (1982, Ulaanbaatar) / singing, kharkhiraa, morin khuur, bishgüür / accompanied by B. Erdenebat, yoochin; B. Bürentögs, morin khuur; Sh. Gangaa, ikh khuur; B. Bolortungalag, drums.
—
From the album Blood, Ulaanbaatar: self‑produced, 2009. Courtesy of Altan Urag.

Pioneers of ethno-rock in Mongolia, Altan Urag’s musicians have subtly combined their taste for metal rock and traditional music. The fusion works and is found in the cavalier rhythmic of horse-head fiddles that are electrified, saturated, lacquered with black and surmounted by a head of Alien. Created at the College of Music and Dance of Ulaanbaatar, at the beginning, the group received many critics. Unlike most of the young groups that went abroad to play, Altan Urag decided to stay in Mongolia and managed to create its own audience in the country, which grew abroad as well. As their instruments are electrified, the sound became powerful, and with amplification, the khöömii became roaring. The two khöömiich of the group first learned as autodidacts and then from Odsüren (CD1-12) in private lessons. Following the advice of monks who founded their technique close to that of the Buddhist liturgy (umzad khooloi) – not without recalling the timbre of metal, the khöömii performers wished to use the recitation of mantras. From the Sonsgood sutra, the verses are translated into Mongolian and the refrain remains in Tibetan. The meaning of this song suggests the existential questions of life and death.

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Musical practice

The band members are classmates at the Music and Dance College in Ulaanbaatar. The first creation is designed for the year-end gala concert of the students. Graduated in 2001, the young musicians have continued the group project from 2002 and their career went up. They play traditional music, but they listen to metal rock. This is where the fusion brought a new genre in Mongolia with Unaga töröv, their first self-produced album in 2004.

Characteristic

The group’s contribution to Mongolian music is the fact that it has sounded the traditional instruments towards rock and founded the ethno-rock genre. Khöömii in their music became stronger and more powerful to go with the instruments and style of the group. By deciding to stay in Mongolia while most traditional music groups were going to play abroad, Altan Urag’s musicians helped to enhance and improve the conditions of traditional musicians in the country.

Discographie

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Nation (CD autoproduction, Ulaanbaatar, 2010).
  • Mongol (CD, B.O. du film éponyme, autoproduction, Ulaanbaatar, 2010).
  • Once upon a time in Mongolia (CD autoproduction, Ulaanbaatar, 2010).
  • Blood (CD autoproduction, Ulaanbaatar, 2009).
  • Hypnotism (CD autoproduction, Ulaanbaatar, 2008).
  • Made in Altan Urag (CD autoproduction, Ulaanbaatar, 2006).
  • Unaga töröv, A foal’s been born (CD autoproduction, Ulaanbaatar, 2004).

See the video clips of Altan Urag on their Youtube channel:

Altan Urag – Youtube

Mongol

Arranged by Khusugtun from a composition of V. Batzorig / Ariunbold Dashdorj (1976, Ulaanbaatar), Batzorig Vaanchig (1977, Bayankhongor) Chuluunbaatar Oyuungerel (1989, Ulaanbaatar), Ulambayar Khürelbaatar (1989, Ulaanbaatar), Adiyaadorj Gombosüren (1981, Ulaanbaatar) /singing, khöömii, kharkhiraa, ikh huur, morin khuur, dombra, djembe / accompanied by Ch. Amarbayasgalan, yatga.
—
From the album Khusugtun. Ethnic‑Ballad Group, Ulaanbaatar: self‑produced, 2009. Recorded and mixed by M. Birvaa, B. Erdenelkhagva and Ts. Ganbold. Courtesy of Khusugtun.

Batzorig learned khöömii from S. Zulsar (1973-2010), Chuluunbaatar as an autodidact influenced by Batzorig, while Ariunbold, Adiyaadorj and Ulambayar followed Odsüren’s teachings (CD1-12) during his private courses. First gathered in the National Academic Ensemble of Music and Dance, these musicians explore the khöömii in polyphony. Since its founding in 2009, Khusugtun have influenced young musicians and many groups appeared throughout Mongolia and in Inner Mongolia, performing almost identically. This piece composed by Batzorig is one of the first creations of Khusugtun, performed at the International Khöömii Festival in Ulaanbaatar in 2009. They won the Grand Prize, which was an important opportunity to reaffirm their level as professional musicians who work for the public structure. Khusugtun has chosen the djembe – emblematic instrument of World Music – to create pieces that attract young people, so that this generation is interested in traditional music. The group calls its style “ethnic ballad”, and characterizes it with soft and melodious airs to purify people from the stress of the twenty-first century. What they care about is that the audiences could listen to them by imagining landscapes, the beauty of nature and to free themselves from daily worries.

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Khusugtun – Хөсөгтөн “12 Jil – 12 жил” / An Anthology of Mongolian Khöömii – Монгол Хөөмийн Сонгомол :
Play Video
Khusugtun – Хөсөгтөн “Chingis Khaany magtaal” / An Anthology of Mongolian Khöömii :
Play Video

Musical practice

Following the suggestion of Ganbold, Director of the National Academic Ensemble of Music and Dance, to create a band, Ariunbold thought of the Khusugtun project. But the idea of polyphonic overtone singing had already germinated in his mind between 1998 and 1999. So he chose the musicians and used the opportunity to experience his idea with them. The group was officially created in March 2009. Having backgrounds of music education, the musicians all experienced choir. With a professional profile and theoretical knowledge in common, they work around a piano for the composition or the arrangements. For khöömii, the overtone timbres are specific to each one: Chulunbaatar is in the highest register, Batzorig in the lowest, Adiyadorj and the others are in the mediums.

Characteristic

Polyphonic khöömii and a repertoire entirely dedicated to overtone singing.

Discography

  • An Anthology of Mongolian khöömii (Routes Nomades/Buda Musique, 2016)
  • Khusugtun. Ethnic-Ballad Group (CD autoproduction, Ulaanbaatar, 2009).

Website of the group:

khusugtun-group.com