Group of three 19th century Mongolian music manuscripts
Oblong 16 mo. In black ink in "Gür duu" notation.
- 100 x 340 mm. 22 pp. on 11ff. In black and red ink, with titling to first page, final page blank. Worn and soiled with many tears to outer edges and minor textual loss to 2 leaves; vertical crease at central fold.
- 75 x 216 mm. 56 pp. on 28ff. In black ink, with titling to first page, final page blank, horizontal parallel lines in red pencil. Watermark incorporating symbols and letters. Soiled; some chipping to first and last leaves. In quite good condition overall.
- 78 x 442 mm. 22 pp. on 11ff. In black ink with highlighting in red pencil. Watermark incorporating symbols and what appears to be the year 1813. Soiled; chipped and frayed at left and right margins with some loss; minor old paper repairs; vertical crease at central fold. Appears to be incomplete.
"In the 19th century, Mongolian music was primarily an oral tradition passed down through generations, but formal notation systems existed within Buddhist monasteries and imperial courts. Rather than using standard Western staves, 19th-century Mongolian notation relied on graphic neumes, text-based tablature, and character systems adapted from Tibetan and Chinese neighbors. The music of Mongolian Lamaist monasteries closely mirrored Tibetan Buddhist models. For vocal chanting and sutra recitations, they utilized a graphic notation system known as dbyangs-yig. The notation consists of flowing, continuous curved lines drawn on paper or parchment scrolls. The upward, downward, smooth, or sharp curves visually mimic the rise, fall, and pitch modifications of the voice. Thick lines indicate a louder volume or emphasized tones, while the length of a line dictates the duration of the note (longer and shorter bars). Text was sparsely written alongside the curves. It mostly served as explanatory cues for breath control, pacing, or instrument cues rather than actual lyrics. ...
"Gür duu" notation is an ancient, indigenous system of musical notation found in 19th-century Mongolian manuscripts used specifically to record and transmit sacred Buddhist meditation and courtly long songs (Gür duu). Developed predominantly within Mongolian Buddhist monasteries, this notation system served as a tool for educated lamas and poets to preserve a highly standardized, sacred vocal repertoire. Key Characteristics of Gür Duu Notation: The notation does not use a Western five-line staff. Instead, it is uniquely woven directly into the traditional vertical Mongolian or Tibetan script of the text. Focus on Ornamentation (Chimeglel): Unlike modern notation that prioritizes exact pitches, Gür duu manuscripts primarily utilize specific graphic symbols inserted alongside the lyrics to dictate vocal embellishments (chimeglel). These marks indicate where and how to execute vocal micro-tones, trills, and glottal modulations. Melodic and Rhythmic Schemas: The manuscripts include dedicated markings for specific melodic names and fixed rhythmic cycles (muru) required to maintain the meditative, solemn quality of the music. Preservation of Canon: It maps out structural guidelines for performance, defining the strict rules of the Jotloi (monastic choir) schools to ensure the songs were sung uniformly across different monastic assemblies. Musical Context of the Manuscripts The notation was designed for a rare genre of Urtyn duu (long song) that features religious, highly philosophical lyrics. Unlike standard nomadic folk songs, Gür duu are characterized by an ethereal, slow-moving pace with wide melodic leaps. In performance, these notation books guided singers who were traditionally accompanied by the yatga (a multi-stringed zither) rather than the common morin khuur (horse-head fiddle). Academic studies by Mongolian musicologists like Dr. L, Erdenechimeg have been crucial in deciphering these 19th-century manuscripts, revealing a sophisticated system that balanced the oral fluidity of nomadic song with the strict structural demands of Buddhist liturgical music." Information gathered from AI
"A system of notation recently discovered in Mongolia and used in Nomyu Khan monasteries in the 18th and 19th centuries is thought to describe melodic pitches arranged according to the tuning of the half-tube zither (yatga). This notation takes the form of lines tracing the broad tonal contours of the melody rather than a series of discrete notes and should probably be regarded as signifying the ten strings of the yatga running horizontally across the surface of the page. Much more research is needed into this system, however, before definite conclusions can be drawn about what precisely it represents." Notation: Grove Music Online.
Item #41569
Price: $1,200.00 other currencies