Music of Russia | ||
Genres | ||
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Bards - Classical music - Hip hop - Jazz - Opera - Rock | ||
Nationalistic and patriotic songs | ||
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Regional music | ||
Adygea - Altai - Astrakhan - Bashkortostan - Buryatia - Belarusian - Chechnya - Chukotka - Chuvashia - Dagestan - Evenkia - Ingushetia - Irkutsk - Kaliningrad - Kalmykia - Kamchatka - Karelia - Khakassia - Khantia-Mansia - Komi Republic - Krasnodar - Mari El - Mordovia - Nenetsia - Ossetia - Rostov - Ethnic Russian - Sakha - Sakhalin - Tatarstan - Tuva - Udmurtia | ||
The music of Kalmykia , a national republic within Russia, has roots in the musical culture of the Oirats. Traditional instruments include the dombra, which is used to accompany dance music. The state folk ensemble Tulpan was formed in 1937 to promote traditional Kalmyk music.
Epic bard and throat singer Okna Tsahan Zam is a Kalmyk who performs the ancient Oirat epic Jangar. [1] He usually accompanies himself on the dombra, but has been known to have the accompaniment of the Mongolian morin khuur while singing the epic.
Kalmyk woodworkers specialized in the making of musical instruments; the prizing and value of these instruments helped preserve Kalmyk musical culture. [2] Traditional instruments included the dombra, the morin khuur, the pear-shaped tovshuur, the psaltery (known as a jatha), and a form of bagpipies called the büshkür. The Saratov accordion was introduced to Kalmyk music in the nineteenth century and has become well-integrated. Other instruments, included conchs, drums, bells, and rattles were used as musical instruments in religious rituals, but these were mostly imported from Mongolia or Tibet.
The dombra is the most commonly played instrument; the Kalmyk dombra has seven frets and two strings, which were traditionally made from the small intestine of sheep. The Kalmyk yatkha, similar to the Mongolia zither, resembled the Ukrainian bandura in both sound and construction - it was typically found among the richest families and the Kalmyk nobility. [2]
In the period after deportation, during which most of the traditional instruments were no longer used, only the dombra and the Saratov accordion were played often. However, during the perestroika period, the creative intelligentsia of the Kalmyk deliberately sought out these traditional instruments and began to incorporate them into modern Kalmyk music. [2] Today, all of the above instruments can be heard in Kalmykia.
The ut dun (lit. long song) is a variety of Kalmyk folk song, contrasting with the akhr dun (lit. short song). These long songs were mentioned in some of the earliest works of Kalmyk ethnography. [3] The ut dun is connected to the traditional Kalmyk way of life, family values, and traditional gender roles of women. A subset of ut dun, the uul'lgd ut dun, is a farewell lament urging brides to cry on their wedding day as they prepare to leave their family and join their husband's household. [3]
The dombra, also known as dombyra, is a long-necked musical string instrument used by the Kazakhs, Hazaras, Uzbeks, Tajiks, Nogais, Bashkirs, and Tatars in their traditional folk music. The dombra shares certain characteristics with the komuz and dutar instruments, such as its long, thin neck and oblong body shape. It is a popular instrument mostly among Turkic communities in Central Asian countries.
Kalmyks are the only Mongolic-speaking people living in Europe, residing in the easternmost part of the European Plain.
Kyrgyz music is nomadic and rural, and is closely related to Turkmen and Kazakh folk forms. Kyrgyz folk music is characterized by the use of long, sustained pitches, with Russian elements also prominent.
Music is an integral part of Mongolian culture. Among the unique contributions of Mongolia to the world's musical culture are the long songs, overtone singing and morin khuur, the horse-headed fiddle. The music of Mongolia is also rich with varieties related to the various ethnic groups of the country: Oirats, Hotogoid, Tuvans, Darhad, Buryats, Tsaatan, Dariganga, Uzemchins, Barga, Kazakhs and Khalha.
The morin khuur, also known as the horsehead fiddle, is a traditional Mongolian bowed stringed instrument. It is one of the most important musical instruments of the Mongol people, and is considered a symbol of the nation of Mongolia. The morin khuur is one of the Masterpieces of the Oral and Intangible Heritage of Humanity identified by UNESCO.
The igil is a two-stringed Tuvan musical instrument, played by bowing the strings. The neck and lute-shaped sound box are usually made of a solid piece of pine or larch. The top of the sound box may be covered with skin or a thin wooden plate. The strings, and those of the bow, are traditionally made of hair from a horse's tail, but may also be made of nylon. Like the morin khuur of Mongolia, the igil typically features a carved horse's head at the top of the neck above the tuning pegs, and both instruments are known as the horsehead fiddle.
Buryatia is a part of the Russian Federation. One of the country's main instruments is a two-stringed horse-head fiddle called a morin khuur. This is an instrument closely linked to the all-important cult of the horse, belonging to the intangible heritage of all Mongolic peoples. Other elements of Buryat music, such as the use of fourths both in tuning instruments and in songs, and pentatonic scales, reveal similarities to music from Siberia and Eastern Asia. There traditionally was no polyphony, instead voices and instruments performed the same melody in unison but varied in timing and ornamentation.
Inner Mongolia is an autonomous region of China, with traditions related to Tuvan music and Mongolian music. Popular musicians including the yangqin player Urna Chahar-Tugchi, formerly of Robert Zollitsch’s Gaoshan Liushui, a world music ensemble. The singer-songwriter Tengger has been well known throughout China since his 1986 hit "I am a Mongolian" ; he has since formed a band called Blue Wolf.
The tovshuur, also known as topshur or topshuur is a two- or three-stringed lute played by the Western Mongolian (Oirats) tribes called the Altai Urianghais, the Altais, Tuvans, and Khalkha peoples. The topshur is closely tied to the folklore of Western Mongolian people and accompanied the performances of storytellers, singing, and dancing. According to descriptions given by Marco Polo, the Mongols also played the instruments before a battle.
The musical traditions of Central Asia mirror the immense diversity found in the cultures and populations residing in the region. Principal instrument types are two- or three-stringed lutes, the necks either fretted or fretless; fiddles made of horsehair; flutes, mostly sige at both ends and either end-blown or side-blown; and jew harps, mostly metal. Percussion instruments include frame drums, Tam origin of the bowed string Use of the bowed string is thought to originate with nomads who mainly used the snake-skin, covered horsetail-bowed lute. In Mongolia instruments like the morin khuur or horse-head fiddle survive today.
The long song is one of the central elements of the traditional music of Mongolia. This genre is called "Long song" not only because the songs are long, but also because each syllable of text is extended for a long duration. A four-minute song may only consist of ten words. Certain long songs such as Uvgin shuvuu khoyor, also known as Jargaltain delger take up to three hours to sing at full length, with all thirty-two stanzas. Lyrical themes vary depending on context; they can be philosophical, religious, romantic, or celebratory, and often use horses as a symbol or theme repeated throughout the song. Eastern Mongols typically use a Morin khuur as accompaniment, sometimes with a type of indigenous flute, called limbe. Oirat groups of the Western Mongols traditionally sing long songs unaccompanied or accompanied with the Igil.
Egschiglen are a Mongolian folk band, formed in Ulan Bator in 1991. In English, Egschiglen means "Beautiful Melody", and they are one of very few traditional Mongolian bands to have become internationally popular.
Altan Urag is a Mongolian folk rock band. Formed in 2002, the band's musical style combines traditional Mongolian and contemporary influences. They're considered to be the pioneers of mongolian folk-rock.
Biyelgee or Bii, is a unique form of dance, originated from the nomadic way of life in Mongolia.
Myagmarsürengiin Dorjdagva ; 1986) is a long-song singer from Mongolia and an independent long-song researcher. In 2007-2021, he served as a researcher at the International Institute for the Study of Nomadic Civilizations (IISNC), an international institution established upon the initiative and support of UNESCO in 1998.
Vladimir Okonovich Karuev, better known by his Kalmyk name Okna Tsahan Zam, is a Kalmyk folk singer, known for his throat singing and as a performer of the Kalmyk national epic Jangar.
The Hu is a Mongolian folk metal band formed in 2016. Incorporating traditional Mongolian instrumentation, including the morin khuur, the tovshuur, and throat singing, the band calls their style of music "hunnu rock", a term inspired by the Xiongnu, an ancient nomadic empire based in Mongolia proper, known as Hünnü in Mongolian. Some of the band's lyrics include old Mongolian war cries and poetry in the Mongolian language.
Epic poetry, or tuuli in Mongolian, is an important genre of Mongol oral literature, with features reminiscent of Germanic alliterative verse. The two most well-known epics are the Jangar and the Geser. These tuuli are commonly sung with instruments such as the Morin khuur and the Tovshuur (lute). Most epics deal with topics of the history of the Mongols, their ideal worlds and heroes, and the acquisition of new lands. Epics are performed mostly as celebrations or during important events. Mongol epic poetry has, as of 2009, been on the UNESCO List of Intangible Cultural Heritage in Need of Urgent Safeguarding.
Aryun-Goa, born Aryuna Nimaeva, is a Buryat singer, musician and composer from Russia. She is known for blending traditional Buryat and Mongolian music with contemporary styles like hard rock. Aryun-Goa is the lead vocalist of the ethno-rock band NukeR.