在遼闊的大地上，與自然融為一體的蒙古族人以天為幕布，以地為舞臺，用歌聲演繹生活的一切。以歌為媒，表達內心的情愫，唱著對家鄉(xiāng)的思念，唱盡與自然的對話。

On the vast grasslands， the Mongolian people， in harmony withnature， use the sky as their backdrop and the earth as their stage. Theyexpress every aspect of life through their songs. Through this musicalmedium， they convey their innermost emotions， sing of their longingfor home， and engage in a profound dialogue with nature.

蒙古族的歌

The Songs of the MongolianPeople

在很多人看來，蒙古族是馬背上的民族，他們的音樂大多英姿颯爽、雄渾壯闊，其實并不盡然。聽過了蒙古族長調，人們仿佛能觸及蒙古族人那緞子一樣柔軟的心腸，感受到無盡的柔情。

To many， the Mongolians are knownas a people on horseback， and their musicis often perceived as bold and majestic.However， this is only part of the story. Uponhearing the Mongolian long songs， one canalmost sense the silk-like softness of theMongolian people’s hearts and feel theirboundless tenderness.

長調的特Xd5A79GCxrKxcdQVo+KSSSAJXxsPkCG1PLGEcT/fVeI=點和魅力在于輕柔、綿長而不“完”。當長調的樂聲響起，世界仿佛只有它的聲音。仿佛是母親哄嬰兒入睡時的低語，是大海在靜謐的夜晚輕拍礁石的浪花聲，是無垠的草原上牛兒對著遠方發(fā)出的哞哞聲，綿延不絕。

The unique charm of long songs liesin their gentle， extended， and “unending”nature. When the melody of a long songbegins， it seems to be the only sound in theworld. It resembles a mother’s soft whisperlulling her baby to sleep， the gentle lappingof waves against rocks on a quiet night，or the endless lowing of cattle across theboundless grasslands.

同樣不“完”的，還有長調藝術的傳承和發(fā)展。提起長調，就必須說到蒙古族音樂史上的一位史詩級人物——蒙古族“歌王”哈扎布。他的傳奇人生為長調藝術增添了更加迷人的色彩。少年時的哈扎布天賦異稟，他的歌聲受到極高的認可。然而生逢亂世，哈扎布被亂兵追殺。窮極之時，他準備用長調的歌聲與世界道別，然而正是這歌聲拯救了自己，也保住了長調的未來。之后，哈扎布將長調帶出草原，搬上舞臺，唱響世界。晚年時，哈扎布教書育人，為長調培養(yǎng)傳承者?！肮肌币鉃椤疤斓亩髻n”，哈扎布和他的長調歌聲正是上天留給世界的禮物。

Similarly， the inheritance and developmentof the art of long songs is “endless.” Whendiscussing long songs， one cannot overlook aniconic figure in Mongolian music history — the“King of Songs，” Hajab. His legendary life addedeven more allure to the art of long songs. As ayoung man， Hajab displayed exceptional talent，and his singing was widely praised. However， hewas born in a time of turmoil and found himselfpursued by rebel soldiers. At his lowest point，Hajab prepared to bid farewell to the world withthe sound of a long song. Yet， it was this verysong that saved him， securing the future of longsongs. In the years that followed， Hajab broughtthe art of long songs from the grasslands to thestage， making them resonate throughout theworld. In his later years， he dedicated himselfto teaching and nurturing the next generationof long song singers. The name “Hajab” means“gift from heaven，” and both Hajab and his longsongs remain a heavenly gift left to the world.

蒙古族的樂器

Mongolian Musical Instruments

在蒙古族人眼中，馬頭琴是“草原音樂之魂”，在內蒙古音樂中扮演著不可替代的角色。關于馬頭琴的來歷，民間流傳著一個動人的故事：有一個叫蘇和的牧羊少年擁有一匹心愛的白馬。一次賽馬會上，白馬奪得了第一名。然而，貪心的王爺眼紅，搶走了白馬。白馬思念主人，脫韁而逃，卻不幸被王爺的毒箭射殺。傷心的小蘇和為紀念死去的小馬，以其骨為柱，尾毛為弦，按小馬的模樣雕刻馬頭裝于琴頂，讓小馬與自己朝夕相伴，永不分離。

To the Mongolian people， the morinkhuur （horse-head fiddle） is the “soul ofgrassland music，” playing an irreplaceablerole in Inner Mongolian music. There is a touching folk tale about its origin： A young shepherdnamed Suho had a beloved white horse. During ahorse race， the white horse won first place， but agreedy prince， envious of its victory， stole it. Longingfor its owner， the white horse managed to escape butwas tragically killed by the prince’s poisoned arrow.Heartbroken， Suho decided to honor his horse bycrafting an instrument from its remains. He used itsbones as the pillar， its tail hair for the strings， andcarved a horse’s head at the top in memory of hisloyal companion. In this way， the horse would remainwith him always， never to be parted.

從此，駿馬不僅被刻在琴首上，也被唱進歌里。馬頭琴是長調最好的配器，每當悠揚的長調響起，都會伴有馬頭琴聲的優(yōu)美回蕩。最初草原上各地的馬頭琴長得都不一樣，琴的大小、弦的數量，都沒有統一，音量也比較輕?，F代馬頭琴的改良與興起與一個人息息相關，他就是馬頭琴宗師齊 · 寶力高。他從小就迷戀馬頭琴，學會了演奏。16歲時，他擁有了人生中第一把屬于自己的馬頭琴，同年他被選入中央音樂學院。在校學習期間，他深切感受到馬頭琴與現代樂器相比較落伍，他也無法用它與其他樂器進行合奏，甚至還因此受到了鄙視和嘲笑。

Since then， the image of the steed has not onlybeen carved into the head of the fiddle but has alsobeen immortalized in song. The morin khuur is theideal accompaniment for long songs. Whenever themelodious notes of a long song are heard， they arealways harmonized with the beautiful echoes of themorin khuur. In the beginning， morin khuurs variedin design across different regions of the grasslands，with no uniformity in size， string number， or volume，resulting in relatively soft sound. The modernizationand enhancement of the morin khuur are closelytied to one individual： Chi Bulag， a master of theinstrument. From a young age， he was captivated by themorin khuur and learned to play it. At 16， he acquiredhis first personal morin khuur， and in the same year，he was admitted to the Central Conservatory of Music.During his studies， he realized that the morin khuurwas outdated compared to modern instruments andtried unsuccessfully to integrate it into performanceswith other instruments， even facing contempt andridicule because of its limitations.

意氣風發(fā)的少年下定決心要對馬頭琴進行改良。這一改，就是60年。經過潛心鉆研，齊 · 寶力高最終改變了琴的形制，擴大了音量，增強了音域，加強了琴弦強度，優(yōu)化了琴聲，改善了琴面，甚至統一了馬頭琴的弓法和指法。正是有了這些改革，馬頭琴這一樂器得以規(guī)范化，從而能夠與世界音樂接軌，并且為更多的年輕人喜愛，活得越來越“年輕”。

The spirited young Chi Bulag was determined toimprove the morin khuur， a process that would span60 years. Through dedicated research， he successfullytransformed the instrument by altering its structure，increasing its volume， extending its range， reinforcingthe strings， optimizing its sound quality， and refiningthe soundboard. He also standardized the bowing andfingering techniques for the morin khuur. Thanks tothese reforms， the instrument became standardized，making it compatible with the music of the world. Asa result， the morin khuur gained popularity amongyounger generations， becoming more modern and“youthful.”

蒙古族的音樂人

Mongolian Musicians

如果說齊 · 寶力高播下了蒙古族音樂的種子，那么在今天，內蒙古的音樂傳承人正努力讓他們的音樂在地球上遍地開花。歌手、樂隊、獨立音樂人等不同的音樂創(chuàng)作群體紛至沓來，為蒙古族音樂添加了流行、搖滾、說唱等多樣的元素。這些音樂的火花相互碰撞，產生了一種微妙的融合，使蒙古族音樂更具有獨特魅力。

If Chi Bulag sowed the seeds of Mongolianmusic， then today， the inheritors of Inner Mongolianmusic are striving to let their music bloom all overthe world. Various creative groups， including singers，bands， and independent musicians have emerged toadd diverse elements such as pop， rock， and rap toMongolian music. When these musical sparks collide，they create an exquisite fusion， making Mongolianmusic uniquely charming.

“草原歌王”騰格爾是如今在內蒙古乃至全中國范圍內歌曲傳唱度都很高的一位蒙古族歌手?！八{藍的天空，清清的湖水……”，當這一旋律響起，沒有人會抗拒得了和他一起閉上眼睛，從內心感受草原。他在音樂創(chuàng)作與演唱中，善于從民族、民間音樂中汲取營養(yǎng)，不斷推出具有濃郁蒙古族風格的通俗歌曲。從流行到搖滾，甚至是電子音樂，他在音樂之路上的探險永不停歇。

Tengger， “the King of Grassland Songs，” is ahighly popular Mongolian singer in Inner Mongoliaand throughout China. “The blue sky， the clearlake…，” whenever this melody sounds， no one canresist closing their eyes and feeling the grasslandin their heart with the singer. In his creation andperformance， Tengger skillfully draws nourishmentfrom ethnic and folk music， producing pop songswith a pronounced Mongolian style. From popto rock， and even electronic music， his musicalexploration never stops.

內蒙古樂隊也如雨后春筍般紛紛嶄露頭角。2004年，一支名叫杭蓋的搖滾樂隊在北京誕生。他們將蒙古樂與流行樂、搖滾樂、古典樂等其他樂種相結合，帶有濃濃的蒙古味。在國際上，他們是最負盛名的蒙古族樂隊，足跡遍布60余個國家，演出超500場，讓世界聽見了內蒙古的聲音。

Inner Mongolian bands havealso sprung up like mushrooms afterthe rain. In 2004， a rock band namedHanggai was formed in Beijing. Theycombine Mongolian music with pop，rock， classical， and other genres，creating a uniquely Mongolianflavoredmusic. Internationally， theyare the most renowned Mongolianband， having performed over 500shows in more than 60 countries，bringing the sound of Inner Mongolia to the world.

此外，九寶樂隊將蒙古族傳統音樂的調性與金屬樂結合得順理成章，將節(jié)奏、血性與優(yōu)美而悠揚的旋律完美融合；HAYA樂團的聲音充滿東方的神韻與自然的靈性，唱出了蒙古族人深沉而內斂的性格；安達組合是“背著傳統樂器的當代樂隊”，他們背著民族樂器，唱著民族語言，講述著民族史詩，在這個變換無窮的世界中堅守著民族的特質。他們和更多想將蒙古族音樂帶到更廣闊世界的年輕人一起，抒發(fā)著情懷。這些美麗的音樂既是民族的，也是世界的。正是這個緣由，草原音樂才走出國界，廣為人知和喜愛，走得越來越遠。

Apart from this， there is the band Nine Treasures，which seamlessly blends the tones of traditionalMongolian music with metal， perfectly integratingbeats and vigor with beautiful， melodious tunes;the band HAYA， whose music is filled with Easterncharms and the spirit of nature， singing out the deepand reserved character of the Mongolian people; theband Anda Union， a “modern band with traditionalinstruments，” singing in ethnic languages and tellingethnic epics， preserving ethnic characteristics in thisever-changing world. Together with many youngpeople who want to bring Mongolian music to abroader world， they express themselves in theirsongs. Their beautiful music is both ethnic andglobal. It is because of this that grassland music hascrossed borders and gained worldwide renown andadmiration， continuing to travel further.