Mongolian Sound Worlds

Jennifer C. Post is a senior lecturer in the School of Music at the University of Arizona. Sunmin Yoon is an adjunct assistant professor in the School of Music and Department of Languages, Literatures & Cultures, at the University of Delaware. Charlotte D’Evelyn is an assistant professor in the Music Department at Skidmore College.

• Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viiTransliteration, Naming, and Place Names . . . . . . . . . . . . . . . . . . . . .ixCompanion Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiiiIntroduction: Mongolian Sound Worlds: Opening SnapshotsSUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1PART ONE: LANDSCAPES AND SOUNDSCAPESInterlude: Song about the SteppeK. OKTYABR AND JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . .171. Sound, Music, Pastoralism, and Nature in Mongolian Sound WorldsJENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21PART TWO: ETHNICITY AND DIVERSITYInterlude: Musical Journeys in Inner Mongolia and BeyondTAMIR HARGANA AND CHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . . . .532. Music and Ethnic Identity in Inner MongoliaCHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613. The Politics of Regional and Ethnic Identities in Contemporary Mongolian Urtyn DuuSUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854. Gendered Musicality in the Altai MountainsREBEKAH PLUECKHAHN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111PART THREE: MATERIAL AND SOCIAL HISTORYInterlude: Consistency, Patience, and Perseverance: Maintaining the Fiddle-Making TraditionBAYARSAIKHAN BADAMSÜREN AND PETER K. MARSH . . . . . . . . . . . . . .1295. The Horsehead Fiddle: A Biographical HistoryPETER K. MARSH AND CHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . 1356. The Tovshuur and Oirad Identity in Mongolia’s Western ProvincesOTGONBAYAR CHULUUNBAATAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1557. Social Lives of the Dombyra and Its Makers in Western MongoliaJENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170PART FOUR: HERITAGE AND GLOBALIZATIONInterlude: Everything Has Two Sides: An InterviewANDREW COLWELL AND D. TSERENDAVAA . . . . . . . . . . . . . . . . . . . . . .1978. Chandman’ and Beyond: Heritage-making of Mongolian KhÖÖmii in Past and PresentJOHANNI CURTET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2039. Mongolian Music, Globalization, and NomadismANDREW COLWELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22710. “We Were Born with Global Ambition”: Continuity, Innovation, and a New Chapter in the Development of Mongolian Popular MusicPETER K. MARSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281

"The authors and editors whose contributions are part of Mongolian Sound Worlds have produced an admirable work that balances depth and breadth, rigor and accessibility, fascinating detail and wider thematic arcs, while also greatly enhancing the representation of Central Asian music and culture within ethnomusicological literature." --Journal of Folklore Research Reviews