Music Shaped by the Steppe
Mongolian traditional music grew in an open landscape where sound carries far, where herders spend long days alone with animals, and where gatherings have always included singing. Three traditions are especially well known to outsiders: throat singing, the long song and music on the horse-head fiddle. They are different from each other, but they share a spacious, expressive quality and strong links to nature.
This article is a general introduction. Styles, names and teaching traditions vary, and it does not name particular performers.
Throat Singing
Throat singing, known in Mongolian as khoomei, is a technique in which a single singer produces more than one pitch at once. Typically there is a low, steady drone and a higher, flute-like or whistle-like melody that floats above it. The effect can sound almost unreal the first time you hear it, as if two voices or an instrument were present.
The technique relies on shaping the mouth, tongue, throat and breath so that certain overtones are brought out. Several styles exist. Some are deep and rough in tone, others lighter and more resonant. Descriptions of these styles and their names differ between teachers, so it is best to treat any list as a rough guide.
Throat singing is practiced in western Mongolia and in neighboring regions of Central Asia and southern Siberia. It is often said to imitate natural sounds, such as wind, flowing water, mountains or animal calls, and many practitioners describe nature as the inspiration. Origin stories vary, and it is wise to present them as traditions rather than proven history. The art has been recognized by UNESCO as intangible cultural heritage.
Today it is performed by both men and women, though in the past it was more often associated with men. It can be heard on stage, in schools, and in informal settings. Learning it takes patience, and attempting it casually can strain the voice.
The Long Song
The long song, in Mongolian urtiin duu, is a vocal form with very long, drawn-out notes and elaborate ornamentation. A single syllable may be stretched over many seconds, with the voice rising and turning in graceful curves. Songs are often slow and spacious, reflecting the wide grasslands, and they are sung at weddings, festivals and family gatherings.
The texts commonly touch on themes such as horses, mountains, homeland, parents and the passing of time. The ornamented style is demanding, and singers often train for years. It is also recognized by UNESCO. For listeners who do not know the language, the melodic shape and emotional tone can still be moving, and a program note or a local host can often explain the meaning.
Long songs are also treated with respect as part of ritual and etiquette. At celebrations, it can be customary for guests to be offered a song, and sometimes a guest might be invited to sing in return. Do not be alarmed if you are asked; a modest attempt, or a polite refusal, is usually accepted gracefully.
The Horse-Head Fiddle
The morin khuur is a bowed instrument with two strings, a trapezoid-shaped body and a long neck topped with a carved horse head. The strings are traditionally made from horsehair, and the bow is also strung with horsehair. Its sound is warm, reedy and expressive. Because it is held upright, the player draws the bow across the strings in a way that creates sweeping, singing lines.
The instrument is deeply tied to the importance of the horse in Mongolian life. Many stories describe its origin and its connection to a beloved horse, and these legends differ in detail. The morin khuur also appears in national symbolism, in schools and in concert halls, and it is recognized by UNESCO among Mongolia’s cultural treasures. It can imitate horse sounds such as galloping or neighing, and pieces describing riding are a favorite part of the repertoire.
For more about the instrument, its construction and its symbolism, see the separate discussion of the horse head fiddle.
Other Sounds and Settings
Beyond these three, Mongolian music includes folk songs, praise poems, dance tunes, instrumental ensembles and the chanting of Buddhist monks. Instruments such as lutes, zithers and flutes appear in different regional traditions. Modern pop, rock and hip-hop are also popular in cities, and some musicians blend traditional elements with contemporary styles.
Music is also woven into festivals. At Naadam, songs and performers accompany the ceremonies. At weddings and at Tsagaan Sar gatherings, a song may be sung as part of the celebration.
Where Visitors Can Hear It
- Cultural performances in Ulaanbaatar and other towns, which often include several traditions in one program.
- Festivals, where performances may be part of the opening or evening events.
- Ger camps and cultural centers, which sometimes arrange short demonstrations. Quality and authenticity vary.
- Family visits, where a song may spontaneously appear if you are welcomed as a guest.
Schedules and venues change, so check locally. Recordings and instruments are available in shops, but quality varies, and it is wise to ask about materials and craftsmanship before buying.
Listening With Respect
Applaud when appropriate and ask before recording a performer. If a song is offered to you at a gathering, listen quietly. Taking an interest in the songs and the stories behind them is a rewarding way to understand the country beyond its landscapes.