Central Asia mainly comprises of nations that have a high degree of similarity and culture. The regions in focus are China and Mongolia. The patterns of settlement and cultural links associated with these areas suggest that the inter-relationship of the peoples of these nations predate the establishment of current political boundaries. The models of compensation and cultural connections related to these regions indicate that the inter-relationship of the peoples of these countries predate the creation of contemporary political boundaries. Musically, a lot of the productions in this area are Islamic inspired. This is because a majority of the inhabitants of this region were Persian and Turkic speaking (Levin et.Al, 2009).
Mongolian singers mainly seemed to sing in two tones simultaneously. With one sound sounding like the metallic sound of a juice harp while the other is like a low moaning growl. This is known as overtone singing or throat singing. These sounds or method of singing was made by carefully controlling the abdominal muscles, mouth, and larynx. Some of the songs sung by this group of people were meant to imitate animals, mainly sheep and goats. From the China side, a relatively popular song from North West China is the Xibei Feng, which is Chinese music with an undertone of a reggae beat. The musical instruments that were used back in time in China then tell of a generation of people who have learned to appreciate their culture.
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As per my expectations of this type of music, most of it was played by ordinary people. In China, music was most alive in the Hu Jia Ta region of Shaanxi province, known mainly for Han culture. This, together with dance slight dance movements that characterize Chinese music, make traditional Asian music and even the remade ones highly refined and beautiful to listen. The Aga Khan Foundation, through a program called the Aga Khan Music Initiative (a program of the Aga Khan Trust for Culture), has sponsored a 10-CD/DVD set documenting the music of Central Asia. It has both the old Asian music and remakes of the same that feature many urban musicians.
From my understanding, the music from China and Mongolia are the most prolific instrument is a significant narrative dimension primarily characterizes the bard and music. The most famous traditional songs from Mongolia were majorly wordless and were usually related to top epic tales. Depending on the nature of the vent and the time of the year, the Chinese music has a way of bringing people together in a social line and fun-full events. For instance, during weddings and kung-fu festivals, drums and trumpets were played, coupled with severe dancing and games.
The Mongolian music was mainly instrumental melodies. This type of music was famous amongst nomadic dwellers. For the primarily Chinese dwellers, their music reflected the profound impact of the Muslim religion in the country. Their music, contrary to that of nomadic communities is enshrined in beautiful lyrics and vocals that marries well with the traditional calendars such as Year of the Roost, year of the fire, amongst other conventional calendars and events.
References
Theodore Craig Levin, Valentina Süzükei (2009), Where Rivers and Mountains Sing: Sound, Music, and Nomadism in Tuva and Beyond; Volume 1, Indiana University Press, Bloomington-USA.
Video links: https://folkways.si.edu/music-central-asia-aga-khan-music-initiative/spoken-word-world/video/smithsonian
https://www.youtube.com/watch?v=FyFoMtHrV2M
https://www.youtube.com/watch?v=FcGnZvLNnrM
