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y51paa>K, 60Trblr Hb OBOXYYAAOr 60/\ AArOIIIH Ypll10HXOlll4YYAblH AYHA LlYYPblH
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 BUYANDELGER NARANTSOGT FROM TSAGAAN TUG CLAN

The last prominent Tsuur performer was the late Paarain Narantsogt /1921-2003/of
Tsagaan Tug clan, the resident of the Duut Soum (County), Khovd Aimag (Province). A
sixth-generation Tsuur performer, leaving the tradition of conveying the magnificence of
the Altai Mountains and beauty of its rivers through the sounds of Tsuur at the brink of ex-
tinction. He was able to-pass the techniques of Tsuur crafting and performing to his offspring
and apprentices, raising hope in preserving and developing this rare form of performing art.
One of those students is his grandson B.Naranbat.
B.Naranbat's ancestors such as Tsoohor, Bootsoi, Aduulaa, Barid, Paarai, Narantsogt
were magnificent and famous Tsuur performers.
B.Naranbat was born in 1984, in the place called Asgat in the territory of Duut soum ,
Khovd province. In 1999-2003 he studied at high-school in Khovd province, during 2003-
2008 studied University of Science and Technology majoring in Cultural Studies.
In 2010, he was awarded with the title of State Leading Cultural Worker and list-
ed into the List of Intangible Cultural Heritage Bearers Possessing a High level of Skills and
Knowledge.
In 2011 , he won the golden medal from Folk Art Festival.
In 2012, he was awarded the honorary medal of Association of Historical and Cultur-
al development of Uriankhai community.
In 2006, he founded the NGO "Association of Hunnic Tsuur" .
In 2009, worked as a member of working group on Tsuur Nomination Files to UNESCO
Intangible Cultural Heritage Lists. Since 2013 working as a member of working group on Na-
tional Programme of Tsuur. Since 2007, he has been training and transmitting the traditional
technique of tsuur performance to students in general education school in Buyant soum
and center of Bayan-Ulgii province, Ulziit soum and center of Bayankhongor province,
Erdenet city and in Epic house at Bogd Khan Palace Museum In Ulaanbaatar.

He has over 80 apprenticeship-students Elnd training young generation of tsuur per-

formers.
Currently, he is studying in Master's degree program of cultural studies at University
of C ulture and Art.
Mr. Sonom-lsh YUNDENBAT, Consultant of C enter of Cultural Heritage
 MONGOL TSUUR
Mongol ancestral musical instrument Tsuur is dating back to
the era of the Hun (Xiongnu). In the historical records mentioning
the origins and evolution of musical instruments, Tsuur is referred to
as "the Mongol Tsuur," "the Wooden Tsuur," or "the Hunnic Tsuur."

"Mongolian traditional Music of the Tsuur" is inscribed in the

UNESCO List of Intangible Cultural Heritage in Need of Urgent Safe-
guarding in 2009. Correspondingly the Mongolian Government has
adopted "Traditional Music of the Tsuur" National Program (2014-
2016).

Tsuur itself is a wooden end-blown flute with three finger holes.

Tsuur was initially made from a simple trunk of a plant stock. This an-
cient method made the first Tsuur easy to produce but also easily
breakable, perhaps lasting a day at most. Hence a need to man-
ufac ture stronger and longer-lasting instruments, ready to perform
during any season has emerged. Nowadays Tsuur is made of branch
of a larch tree or a trunk o f a white willow, split along the length and
carved with cavity inside, then the two parts joined and glued to-
gether, thus creating a pipe. In order to firmly attach the two pieces
together a more sophisticated tec hnology is applied, such as put-
ting the pipe inside a thin skin of a sheep's or antelope's esophagus.

Despite the visible simplicity in shape it is a masterpiece of

Mongolian musical heritage, reflecting the centuries-old tradition of
creativity and ingenuity. Tsuur has a unique timbre inexistent in any
other wooden wind instruments, as it is performed by touching the
mouthpiece of a pipe with one's front teeth, creating a clear and
gentle whistling sound, and simultaneously applying one's throat
 burden, producing a drone brass at the same time. Although Tsuur
has only three holes, it can convey the magnificence of nature, ifs
mountains, rivers, and wildlife.

Tsuur has its origins in an ancient practice ofworshipping the

Earth, mountains, rivers and their respective guardian spirits by re-
sembling the sounds unnatural for human beings. Tsuur music has
an inseparable connection to the livelihood and customs of the
Uriankhai Mongolians of the Altai Region.

Since the ancient times the Uriankhai Mongolians regarded

Tsuur as "music of the spirit of the Altai Mountains," revering it as a
force to fend off evil from a household by keeping it at a prominent
place near the altar. Tsuur was played on various occasions, such
as appealing to the spirit of the Altai Mountains for hunting trophy,
or for benign weather in case of eminent natural hardships, bene-

/ diction for a safe journey or for weddings and other festivities. In a

more distant past, Tsuur was even performed at state occasions.
Tsuur has three-fold duties: to reflect one's inner feelings when trav-
eling alone, to connect a human with the nature and to :Serve as
performing art for spectators. ·
 MOHrOA UYYPblH AflArYY - MONGOL MELODIES OF TSUUR CD
MoHrOA YACblH CoeAblH T3pryyHl!1111 0)1(1!1ATOH
LIYYP4 6ysiHA3Ar3pll1~H HAPAH6AT
l. AJ\TAIIIH MAfTAM 2:20
PRAISE TO THE MAGNIFICENT ALTAI MOUNTAINS
2. 338111111H rOJ\blH YPCrM 2:21
FLOW OF THE EIVEN RIVER
3. 6AJ\Yll1H X33P MOPIIIHbl >lBAAJ\ 2:40
GAITS OF THE BALCHIN BUCKSKIN STALLION
4. 6YIIIJ\fAH WAP,ATHbl >lBAM • 2:00
. THE ~A~K~~ BEIGE CAMEL
5. - ~~~IIIH ro~ fl!l, YPC~AA . ' 2:56
,.. • FLOW~ THE .Elvi~ ER~ ~
•' ,fAHfAH3MW , "-< • 2:11
.... \ ,. SMARTLY DREssftD OUNQ MAN
7. Xf..lilrAPbAblH.,.A 3B3J\T 3~04
FLAPPING THE WINGS OF THE GARUDA \
8. xex OPOr MOPb : 2: 15
4
THPTALE OF THEG~EYISH HORSE .·
9. )J<OP._00 MA>KAMAVI /6AABrAll!/ 2:26
·-
• PACING GOBI BEAR
10. PAfWAAHbl ro/\ 3:03
.FAGSHAAN RIVER
.e111r GAr¥,H ll1Hr3Hll1~ >1BAM 2:49
• 'CANTERING WHITE CAMEL
, . °VY/\ YCHbl UYYPAlll 3:20
ECt-jOES.bF MOUNTAINS ANID RIVERS r •
I IAt'tfll._l\ f ~, • I 3:05'
.Y?~Y_.' ~ I
I
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