Mongolian Chuoer
01 · Historical Records
After the Qing dynasty, the Mongolian chuor was basically made of wood.
02 · Core Techniques & Process
The Mongolian chuor, also called the maodun chaoer, and also called the hujia or chaoer, is an edge-blown aerophone. It originated in the Qin and Han periods and is recorded in traditional classics such as the Taiping Yulan, the Yuefu Shiji and the Shuowen Jiezi. By the height of the Tang dynasty it was already widely current in what is now the Inner Mongolia Autonomous Region and in the Altay area of Ili Kazakh Autonomous Prefecture of the Xinjiang Uyghur Autonomous Region, and it has been handed down through the generations down to the present day. The early Mongolian chuor existed in two forms, one with a tube made of reed, which was mainly current in Mongolian-inhabited areas, and another with a wooden tube, which was mainly current in the Han areas of the Central Plains. Unlike all other traditional Chinese wind instruments, the Mongolian chuor is the only wooden blown pipe with no reed and no stopper, open at both sides; the two ends of the tube are of the same diameter, and its length is generally 60 centimetres. When the Mongolian chuor is played, the tube is held upright, the performer holds it with both hands, and the index and middle fingers of each hand close three tone holes; the opening at the upper end is held close to the lower lip and sounded by blowing, producing a pentatonic scale over an interval of a twelfth. Its playing technique is highly distinctive: it is often blown with throat tones, or combined with the tone of the pipe so that both sound at once. The Mongolian chuor carries strong ethnic colour, is skilled at playing Mongolian long-tune melodies, and has a soft, beautiful, natural and full timbre; it can be used for solo playing, ensemble playing or accompaniment. The Mongolian chuor, which gives two sounds from one pipe, is the most primitive specimen of the traditional edge-blown aerophone and wind instrument, and is of extremely important reference value in the study of the history of ethnic music.
Waves on the Ebi River
According to the material available at present, the Mongolian chuor has 38 traditional pieces, with representative works such as Waves on the Ebi River, the Flowing Water of the Hawa River, the Kanas River and Bright Blossoms.
The Flowing Water of the Hawa River
According to the material available at present, the Mongolian chuor has 38 traditional pieces, with representative works such as Waves on the Ebi River, the Flowing Water of the Hawa River, the Kanas River and Bright Blossoms.
The Kanas River
According to the material available at present, the Mongolian chuor has 38 traditional pieces, with representative works such as Waves on the Ebi River, the Flowing Water of the Hawa River, the Kanas River and Bright Blossoms.
Bright Blossoms
According to the material available at present, the Mongolian chuor has 38 traditional pieces, with representative works such as Waves on the Ebi River, the Flowing Water of the Hawa River, the Kanas River and Bright Blossoms.
03 · Regional Records & Related Items
The Mongolian chuor, also called the maodun chaoer, the hujia or the chaoer, is an edge-blown aerophone; it was already widely current in what is now Inner Mongolia and in the Altay area of Xinjiang by the Tang dynasty. In its early period it existed in two forms: the one with a tube of reed was mainly current in Mongolian-inhabited areas, and the wooden one mainly in the Han areas of the Central Plains; after the Qing dynasty it was basically made of wood. According to the material available at present, the Mongolian chuor has 38 traditional pieces, and the line of Qiaolongbate Alixian has taught and transmitted the art in the Altay pastoral areas, prompting the setting up of performing ensembles in the surrounding pastoral areas.
04 · Cultural Value & Contemporary Safeguarding
According to the material available at present, the Mongolian chuor has 38 traditional pieces, with representative works such as Waves on the Ebi River, the Flowing Water of the Hawa River, the Kanas River and Bright Blossoms. At present, because of changes in the natural ecological environment and in the mode of social production, the survival and development of the art of the Mongolian chuor has fallen into extreme difficulty: only one inheritor remains, so rescue and protection are urgent. Qiaolongbate Alixian (official archive record of the associated inheritor): A man of the Mongolian people, born in March 1977 in Altay City, Xinjiang Uyghur Autonomous Region. He can not only play the instrument but has also mastered the craft of making it. He can make chuor from a wide variety of different materials. The instruments he makes preserve the original making techniques while also introducing innovations. His representative repertoire includes Altai Mahatala music and Yebin Duoligang. Under his influence and leadership, many music lovers in the surrounding pastoral areas and in other parts of the autonomous region have joined the ranks of those learning the chuor, and have spontaneously formed performing ensembles. Representative inheritor of the Mongolian chuor in the fifth national-level batch of intangible cultural heritage.
05 · Associated Representative Bearers
Representative bearers recorded under this item, organized by national nomination batch:
- Qiaolongbatealeixian 05-2147
06 · Authoritative Sources & Bibliography
Sources
China Intangible Cultural Heritage Network (ihchina.cn)
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