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The Features of Musical Folklore in Mongolian Shamanic Chanting

The Features of Musical Folklore in Mongolian Shamanic Chanting <jats:sec><jats:title>Abstract</jats:title><jats:p>This paper explores the specific features of musical folklore in Mongolian Shamanic tradition through the four essential features of folk art works, selectivity, existence, continuity and complexity. Adopting the systematic theory of Mongolian folklore including folk music which was developed by Jamtsyn Badraa, Mongolian folklorist, on the basis of Indian philosopher Nagarjuna’s Eightfold Negation, the author examines the chanting ways (formation or improvisation), functions (non- or multifunctional), learning process (transmission), and authorship (collectivity and individuality) of Mongolian Shamanic chanting.</jats:p> </jats:sec> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Inner Asia Brill

The Features of Musical Folklore in Mongolian Shamanic Chanting

Inner Asia , Volume 9 (1): 109 – Jan 1, 2007

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Publisher
Brill
Copyright
© 2007 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1464-8172
eISSN
2210-5018
DOI
10.1163/146481707793646601
Publisher site
See Article on Publisher Site

Abstract

<jats:sec><jats:title>Abstract</jats:title><jats:p>This paper explores the specific features of musical folklore in Mongolian Shamanic tradition through the four essential features of folk art works, selectivity, existence, continuity and complexity. Adopting the systematic theory of Mongolian folklore including folk music which was developed by Jamtsyn Badraa, Mongolian folklorist, on the basis of Indian philosopher Nagarjuna’s Eightfold Negation, the author examines the chanting ways (formation or improvisation), functions (non- or multifunctional), learning process (transmission), and authorship (collectivity and individuality) of Mongolian Shamanic chanting.</jats:p> </jats:sec>

Journal

Inner AsiaBrill

Published: Jan 1, 2007

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