【亚洲·蒙古国】马头琴传统音乐 Traditional music of the Morin Khuur（2008年）

二弦提琴莫兰库尔在蒙古游牧文化中占有重要地位。装饰着马头的弦乐器可以从13世纪和14世纪蒙古帝国的书面资料中得到证实。提琴的意义超出了它作为一种乐器的功能，因为它是一种传统乐器游牧是蒙古游牧民族仪式和日常活动的组成部分。

morin khuur（马头琴）的设计与马的重要崇拜密切相关。该乐器的中空梯形身体连接在一个无烦恼的长脖子上，脖子末端有一个雕刻的马头。就在头部下方，两个调音栓像耳朵一样从颈部两侧伸出。音板上覆盖着动物的皮肤，琴弦和琴弓由马毛制成。乐器特有的声音是通过滑动或敲击琴弓来产生的。常见的技术包括右手多次抚摸和各种左手指法。它主要以独奏的形式演奏，但有时也伴随舞蹈、长歌（urtiin duu）、神话故事、仪式和与马有关的日常任务。时至今日，莫林库尔剧目保留了一些专门用来驯服动物的曲调（塔特拉加）。由于主音和泛音同时存在，morin khuur（马头琴）音乐一直很难用标准的记谱法进行转录。它已经从师傅口传给学徒好几代了。

在过去的四十年里，大多数蒙古人都定居在城市中心，远离莫林库尔的历史和精神环境。此外，乐器的调音通常会根据舞台表演的技术要求进行调整，从而产生更高、更大的声音，消除许多微妙的音色。幸运的是，蒙古南部幸存的牧民社区成功地保存了莫林库尔的许多方面，以及相关的仪式和习俗。

2008年度列入人类非物质文化遗产名录。

来源：联合国教科文组织亚太地区非物质文化遗产国际培训中心

The two-stringed fiddle morin khuur has figured prominently in Mongolia’s nomad culture. String instruments adorned with horse heads are attested to by written sources dating from the Mongol empire of the thirteenth and fourteenth centuries. The fiddle’s significance extends beyond its function as a musical instrument, for it was traditionally an integral part of rituals and everyday activities of the Mongolian nomads.

The design of the morin khuur is closely linked to the all-important cult of the horse. The instrument’s hollow trapezoid-shaped body is attached to a long fretless neck bearing a carved horse head at its extremity. Just below the head, two tuning pegs jut out like ears from either side of the neck. The soundboard is covered with animal skin, and the strings and bow are made of horsehair. The instrument’s characteristic sound is produced by sliding or stroking the bow against the two strings. Common techniques include multiple stroking by the right hand and a variety of left-hand fingering. It is mainly played in solo fashion but sometimes accompanies dances, long songs (urtiin duu), mythical tales, ceremonies and everyday tasks related to horses. To this day, the morin khuur repertory has retained some tunes (tatlaga) specifically intended to tame animals. Owing to the simultaneous presence of a main tone and overtones, morin khuur music has always been difficult to transcribe using standard notation. It has been transmitted orally from master to apprentice for many generations.

Over the past forty years, most Mongolians have settled in urban centres, far from the morin khuur’s historical and spiritual context. Moreover, the tuning of the instrument is often adapted to the technical requirements of stage performance, resulting in higher and louder sounds that erase many timbral subtleties. Fortunately, surviving herding communities in southern Mongolia have managed to preserve many aspects of morin khuur playing along with related rituals and customs.

Included in the list of human intangible cultural heritage in 2008.

Source: UNESCO International Training Center for intangible cultural heritage in the Asia Pacific Region