Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
Transliteration, Naming, and Place Names . . . . . . . . . . . . . . . . . . . . .ix
Companion Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii
Introduction: Mongolian Sound Worlds: Opening Snapshots
SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
PART ONE: LANDSCAPES AND SOUNDSCAPES
Interlude: Song about the Steppe
K. OKTYABR AND JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
1. Sound, Music, Pastoralism, and Nature in Mongolian Sound Worlds
JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
PART TWO: ETHNICITY AND DIVERSITY
Interlude: Musical Journeys in Inner Mongolia and Beyond
TAMIR HARGANA AND CHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . . . .53
2. Music and Ethnic Identity in Inner Mongolia
CHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
3. The Politics of Regional and Ethnic Identities in Contemporary Mongolian Urtyn Duu
SUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
4. Gendered Musicality in the Altai Mountains
REBEKAH PLUECKHAHN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
PART THREE: MATERIAL AND SOCIAL HISTORY
Interlude: Consistency, Patience, and Perseverance: Maintaining the Fiddle-Making Tradition
BAYARSAIKHAN BADAMSÜREN AND PETER K. MARSH . . . . . . . . . . . . . .129
5. The Horsehead Fiddle: A Biographical History
PETER K. MARSH AND CHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . 135
6. The Tovshuur and Oirad Identity in Mongolia’s Western Provinces
OTGONBAYAR CHULUUNBAATAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
7. Social Lives of the Dombyra and Its Makers in Western Mongolia
JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
PART FOUR: HERITAGE AND GLOBALIZATION
Interlude: Everything Has Two Sides: An Interview
ANDREW COLWELL AND D. TSERENDAVAA . . . . . . . . . . . . . . . . . . . . . .197
8. Chandman’ and Beyond: Heritage-making of Mongolian Khöömii in Past and Present
JOHANNI CURTET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
9. Mongolian Music, Globalization, and Nomadism
ANDREW COLWELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
10. “We Were Born with Global Ambition”: Continuity, Innovation, and a New Chapter in the Development of Mongolian Popular Music
PETER K. MARSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281
