Magtaal - Höömij - CD
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cd cover Ensemble Khan Bogd
Magtaal - Höömij - Vol. II (face)

An ensemble founded in 1997, All Khan Bogd's members have studied at the academy of music in Ulaanbaatar. This volume is a presentation of praise songs (magtaal) and throat singing (höömij).

   

Tracks:
1. Höömijiin khelkee ayalguu - praising song for King Manduul - 5:16
2. Ikh ezen Bogd Chingiss khaan - praising song for King Genghis - 20:19
3. Dörvön Oirdiin uria - praising song for the tribe of the Oird - 9:15
4. Jargalant Altai magtaal - praising song of this mountain in the Mongolia Altai - 3:27
5. Setgemj - four mountains in Ulaanbaatar - höömij - 2:31
6. Höömijn törluud - höömij variation - 1:55
7. Elstiin gangad nutag - höömij from Western Mongolia - 3:16
8. Zakhchin-tatlaga - dance melody from Western Mongolia - 2:34
9. Gal Shargiin unaga - praising song of the Golf of Gal Sharga with the best horses - 6:38
10. Khan Bogd magtaal - praising song for all of our Khan Bogd - 11:35


Musicians:
- Duuren Uuriintuya: female voice
- Gankhuyag Natsag, male voice (text of prayer)
- Orkhonbaatar Chinbat: ever buree, male voice (text of shaman), tsuur (shaman drum), shaman bells, shigshuur (shaman rattle) höömij
- Gereltsogt Jamba: limbe, tovshuur, male voice, höömij, damar, denshig
- Ganburged Bukhchuluun: morin khuur, male voice, höömij
- Dorjnyam Shinetsog-Gyeni: morin khuur, male voice, höömij
- Ganbaatar Enkhzaya: yoochin, female voice, shigshuur
- Gankhuyag Uyanga: female voice, khuuchir
- Gankhuyag Solongo: female voice, yatga

From the CD notes:

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).

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 (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

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