The Mongolians conferred the title Khan (Khan = King) to their highest-ranking ruler (tribal chief) of the tribes. Undur Gegeen Zanabazar was the first Bogd (1635-1723), this high-ranking Buddhist monk ruled from Urga, the historic capital of Mongolia. He was a celebrated monk and statesman, and he was also Mongolia's greatest artist. Since Zanabazar, this highest-ranking representative of the Buddhists in the 17th century, the title Khan Bogd (King Bogd) has been established. Khans were simultaneously highest-ranking Buddhist as well as profane leaders. The last Mongolian Khan Bogd died in 1924. He was the last religious and profane ruler of the Mongols who resided in the Khan Bogd Palace. The place of residence was called Ulaanbaatar, i.e. 'Red Warriors' or 'Red Heroes'.
In the Mongolian language this designation is also used for important or holy mountains or even whole mountain ranges, such as the Tavan Bogd Mountain Range in the Northern Mongolian part Khuvsgul aimark, the Aj Bogd-Mountain in the Western Mongolian area of the Gobi-Altai province, or the Bogd Khan Mountain Range near Ulaanbaatar, the oldest Mongolian nature reserve (today it is a national park).
In the Ensemble Khan Bogd these lamaistic gods, the secular rulers, and the mountains are being praised in praising songs (see this album: Magtaal - Höömij - FM 50044 - Vol. II). Some songs and texts are performed in throat singing (Höömij). In this first record 'Ayalguu' - FM 50043 - Vol. I there are performed short songs (bogin duu) and long songs (urtyin duu), with the female voice assuming an important role. The songs are about nature, man, animals (especially the horse) and the land of the Mongolian in general.
The Mongolian songs have a rich repertory. Music spread from home to home on the occasion of festivities and by way of teaching. The family or the clan meeting constituted a good chance to gather and sing together, the chance to learn from others, and to take home a new melody. In this way, the ancient patterns performed in various corners of Mongolia have been preserved by local masters for the whole nation. Some specific types are: labor songs (work songs); buuvay songs (lullaby); hunter's calls [to attract animals by imitating their call); various herder's calls, [to manage the herds by means of signalling (each animal has its own signal)]; uukhay or gulyingoon songs which are linked to seasonal events (arrival of spring, mare milk flows, horse race training, etc.); many other songs announcing birthdays, weddings, national holidays, winning a horse race or a wrestling competition, celebration of the elders, wool cutting, cashmere combing, arrival of harvest and many more songs for singing and dancing together.
The nomad shepherds in Mongolia, like other nomads from Central Asia, used to play string and wind instruments. The national music of Mongolia has had a rich background and a great tradition that goes back many centuries. Ensembles (orchesters) have performed at court or in the monasteries for lamaistic celebrations or in ritual ceremonies. Ensembles also play for daily rites in the ger (jurte - round tents). The morin khuur (horse-head violin or 'fiddle') (morin = horse; khuur = sound, rhyme, melody) is the most important traditional instrument for dance and to accompany songs. It is the national instrument.
People say that it is connected with a handsome man. It is also played when an ewe does not want to suckle its lamb. It is believed that the ewe, hearing this music, will feel better and accept its lamb.
There is a legend about the origin of this instrument. A Mongol missed his dead horse so much that he used its head, its bones and its hair to build an instrument on which he started to play the familiar noises of his beloved horse.
The history of this instrument is based on two other legends:
A shepherd received as a gift from his beloved woman a magical horse that could fly. He used it at night to fly to meet his beloved. His jealous wife cut the horse's wings off, so that the horse fell from the sky and died. The grieving shepherd made a horse-head fiddle from his beloved horse.
A boy named Sükhe (or Suho). After a wicked Lord (Pagan God) had slaughtered the boy's prized white horse, the horse's spirit came back to Sükhe in a dream and instructed him to make an instrument from the horse's body, so that the two could still be together and neither of them would have to be alone.
Ensemble Khan Bogd