Mongolian Sound Worlds

Contents

• Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
• Transliteration, Naming, and Place Names . . . . . . . . . . . . . . . . . . . . .ix
• Companion Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii
• Introduction: Mongolian Sound Worlds: Opening Snapshots
• SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
• PART ONE: LANDSCAPES AND SOUNDSCAPES
• Interlude: Song about the Steppe
• K. OKTYABR AND JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
• 1. Sound, Music, Pastoralism, and Nature in Mongolian Sound Worlds
• JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
• PART TWO: ETHNICITY AND DIVERSITY
• Interlude: Musical Journeys in Inner Mongolia and Beyond
• TAMIR HARGANA AND CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . . . .53
• 2. Music and Ethnic Identity in Inner Mongolia
• CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
• 3. The Politics of Regional and Ethnic Identities in Contemporary Mongolian Urtyn Duu
• SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
• 4. Gendered Musicality in the Altai Mountains
• REBEKAH PLUECKHAHN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
• PART THREE: MATERIAL AND SOCIAL HISTORY
• Interlude: Consistency, Patience, and Perseverance: Maintaining the Fiddle-Making Tradition
• BAYARSAIKHAN BADAMSUEREN AND PETER K. MARSH . . . . . . . . . . . . . .129
• 5. The Horsehead Fiddle: A Biographical History
• PETER K. MARSH AND CHARLOTTE D'EVELYN . . . . . . . . . . . . . . . . . . 135
• 6. The Tovshuur and Oirad Identity in Mongolia's Western Provinces
• OTGONBAYAR CHULUUNBAATAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
• 7. Social Lives of the Dombyra and Its Makers in Western Mongolia
• JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
• PART FOUR: HERITAGE AND GLOBALIZATION
• Interlude: Everything Has Two Sides: An Interview
• ANDREW COLWELL AND D. TSERENDAVAA . . . . . . . . . . . . . . . . . . . . . .197
• 8. Chandman' and Beyond: Heritage-making of Mongolian Khoeoemii in Past and Present
• JOHANNI CURTET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
• 9. Mongolian Music, Globalization, and Nomadism
• ANDREW COLWELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
• 10. "We Were Born with Global Ambition": Continuity, Innovation, and a New Chapter in the Development of Mongolian Popular Music
• PETER K. MARSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
• Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
• Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
• Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281