URTIIN Duu (Long Song) and Khoomei (Throat Singing) have always been regarded as the most typical and important cultural symbols of the Mongolian ethnic group in China. Mongolians mainly live in Inner Mongolian Autonomous Region, with the rest residing in pastoral areas of the provinces of Qinghai, Gansu, Liaoning, Jilin, and Heilongjiang. Living in the vast grassland and virtually growing up on the horseback, the brave and unrestrained Mongolian people have a deep connection with nature. Singing is an important way to express their affection, even passion, for their beautiful homeland.

Long Song

The annual Nadam Fair features Long Song and Throat Singing, contributing to their revival.                                               Cnsphoto

    Urtiin Duu is the name of a traditional singing style. The word urtiin means eternity while duu refers to song in the Mongolian language. As one of the oldest genres of Mongolian musical art, Urtiin Duu involves complicated and drawn-out vocals, demanding extraordinary skills from the singers in breath control and guttural singing. It is believed that this folk art originated some 2,000 years ago, and has been recorded in literary works since the 13th century.

    Apart from the common Urtiin Duu we hear today, two other major styles are identified: the mini Long Song and the majestic Long Song, both of which demand a wide vocal range.

    The main feature of the Long Song is prolonged and tenuto musical notes with modulated vibrato on the vowels. It is rich in other ornamentation, such as portamento and coloratura evolving from the Noguerra, meaning “decorative sound” in Mongolian. Different from common human singing, the tonal range of Urtiin Duu may reach to as high as three octaves.

    Though there are regional differences in the form, Urtiin Duu generally features a rising melody, which is slow and steady and a falling melody that is often in a lively rhythm. Regional styles of broad variety have been preserved and are performed today. The eastern style is characterized by a wide range and slow tempo, while in the north, melody often moves faster and in more complicated composition forms. In the western area, the vocal range is somewhat narrower and the tempo is faster in comparison to the eastern.

    Long Song was created by nomadic tribes in North China during grazing. The composition and performance are drawn from the pastoral way of life, themed mainly on praising the beauty of the steppe, mountains, and rivers as well as the spirit of the Mongols themselves. The elongated notes, unrestricted rhythms and evocations of all things majestic depict the tranquil soul of the nomadic character.

    As a ritual form associated with important celebrations and festivities, Urtiin Duu is held in esteem by Mongolian society. It is often performed at wedding banquets, family gatherings and other grand social events of the Mongolian community. Especially during the annual Nadam Fair (a traditional Mongolian sports fair), Long Song is an essential part of praising the warriors’ courage when they compete in wrestling, archery and horse racing.

    In a sense, Urtiin Duu is more than a music genre, it reveals the connection between man and nature. People usually sing the long songs while riding alone on the open steppe. To Mongolian people, it even possesses magical power. When a ewe refuses to suckle her lamb, herdsmen will sing the sorrowful songs all day long. Touched by the moaning, the ewe begins to weep and finally nurses its young. This phenomenon is also known among other livestock; an incident was captured in the award-winning documentary The Weeping Camel.

    Running through Mongolian history and social life, Urtiin Duu has become the vocal embodiment of nomadic culture. Nowadays, this living fossil form not only reflects the high artistry of Mongols, but also strengthens our understanding of Mongolian language, history, religions, customs and philosophy.