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Notatii muzicale tibetane

ENGLISH

Some SUTRAS are available at Gandan Tegchinlin Monastery and Shankh Baruun Khuree in Kharkhorin Soum, Uvurkhangai aimag. You can also find them at Shadduvdarjaalin Monastery in Buregkhangai Soum, Bulgan aimag, Dashgenpillin Monastery in Dundgovi aimag, and the Bayankhongor aimag museum.

The Danzanravjaa Museum in Dundgobi Aimag has recently opened and a total of 30 yan-yeg sutras kept by the public were finally revealed.

Some exhibition are co-organized by the Ministry of Culture and Tourism, Gandan Tegchinlin Monastery, the University of Arts and Sciences, the Bogd Khan Palace Museum, the Cultural Heritage Center, and the Museum Research Center.

Natsagiin Jantsannorov is a famous Mongolian composer, folk actor and musician who is familiar with Yang music.

• Two files with music notations;
• Zwei Blätter mit Musiknoten;
• Două file cu notații muzicale;
• Dva lista sa notnim zapisima. Signatura: 2108/…

The symbol of ancient music was called Yang-Ye.

So, did the Mongolians invent it themselves or did it come from somewhere else?

Yang-Ye, a symbol of ancient Mongolian music, should not be left out. What can be drawn from this is that its public use in Mongolia should be understood as a musical script like five-line notes of European origin.  But it is important to understand that it’s very different from modern notes.  In his book of Chronicles, Tibetan writes that he was inspired by God.

It is believed to have come from the south, from the Himalayas, and is called Khalkha’s new funnel. Therefore, it can be concluded that the basic method of notation came from others. However, this should not be construed as a complete copy of Mongolia, because the attempt to further creative development had prevailed.

In particular, this Yang-Ye, or hobby, was changed in accordance with the Mongolian mentality, music, and religious traditions.

Another question is where and when was the last time Yang-Ye was used by Mongolians and is there a composer who can read notes now?

It is said that the last song of „Shivee Khiagt” was found in Bayankhongor Aimag, composed in 1921.  It has been used since then until the 1930s.  Unfortunately, many monasteries were burned down and, moreover, until 1990, it was considered useless garbage. Only now do we agree that religion and art are essential aspects of culture. The University of Arts and Sciences has a role in this recognition. It should work with the Institute of Cultural Studies to study ancient notation patterns and introduce them to the public.

From traditional and current practice, this music needs to be studied.  Because, first of all, it is what the Tibetan peoples created – it is music from man-made things.

The people before us were unique in that they expressed themselves in what they created.

Now there is no musicologist who can read it. We have the opportunity to study how Mongolians composed melodies, rather than exploring the people in that time.  By studying this, it seems that one can feel the Mongolian society in that era, the Mongolian people and their worldview.  So it is a good idea to try to find it. If we can really unravel the key to this, Mongolians will become a nation that has written the music of the 17th and 18th centuries. No matter if big or small, there is a tradition.

According to D. Davaasurenges, a researcher at the Institute of Culture and Arts, vowel symbols were used in the 17th and 18th centuries.

Modern young people don’t know about ancient vowels.

No religious organization uses this symbol now and it is difficult to say that wether it has ever been used in full. Because there was a time when modern Tibetans rejected national culture and religion. It was interrupted and destroyed by the storms of that time. Therefore, it cannot be said that it is fully inherited by the younger generation. But the living tradition and environment, the space that uses it, is there now. One example is some monasteries, which kept this notation in their solo recitations, and the Unzad lama recited according to it, which is a sign that this use has not completely disappeared. So it doesn’t matter how big or small the tradition is.

A lot of books and scriptures are left with this notation, and this is one of the big research projects done by institutes in Tibet. This type of scripture is available today, but not many people are attracted to it and it would be useful to find the key to using those scriptures in research and putting them into circulation. If this can be solved, it will be possible to use it in many religious and cultural works, such as how to use it in music and how to use it in church work.  Such scriptures are not insignificant.

The books read by monks are in Tibetan, and the conclusion that can be drawn by this is that the monks alone recite the scriptures. For example, where to pause and where to breathe. It’s basically a note. The teachers of religious schools may teach it in reading classes. However, these so-called ancient melodies had a local dialect at that time. So it is important to find the difference and study it.

DEUTSCH

Die SUTRAS sind zu finden im mongolischen buddhistischen Tempel, im Kloster Gandan Tegchinlin, im Shankh Baruun Khuree von Kharkhorin Soum, im Uvurkhangai Aimag, im Shadduvdarjaalin Kloster von Buregkhangai Soum, im Bulgan Aimag, im Dashgenpillin Kloster von Dundgobi Aimag und im Bayankhongor Aimag Museum. Das Danzanravjaa-Museum im Dundgobi-Aimag und insgesamt 30 Yan-yeg-Sutras, die von der Öffentlichkeit aufbewahrt werden, wurden erst kürzlich enthüllt.