But, until now, there has been no record of the Chinese national tremolo music origin in Chinese music history. Is it because western tremolo was introduced to China or China's altai region (Xinjiang province) that it radiated to the west? The truth is, “Xiao”, namely chor, has a history of more than 2,300 years, but western tremolo music was first produced in the 9th century before 1,100 years. The thriving of chorus and hymns happened around the 14th through 17th centuries. As you see, China has always been regarded as the Oriental without tremolo music. It may actually be the matrix and homeland of western European tremolo music.
It’s because of this that the "hoomii" art spread from the contemporary Mongolian ethic group, not only because it caused a sensation in international music circles, but also because it gained great interest and universal attention from sociology, anthropology, history, culture and art experts and scholars in the world. It was even highly valued by national music experts, vocal sector experts and scholars. Mr. Lv Ji, the honorary president of the Chinese Musicians Association, and music theorists greats said, “Mongolia has the kind of songs where a person sings with two voices, which strangers can’t even imagine, and it is something we should earnestly study and research.”
"Hoomei" died out 100 years in the Inner Mongolia steppe, which is also on the verge of extinction in the Xinjiang Mongolian altai region. Therefore, it is of great urgency to save, explore and develop the cultural heritage which belongs to the Chinese nation originally.
In terms of the inheritance and development of "hoomii" (haolin chor), the Mongolian attractive peerless cultural heritage, Inner Mongolia steppe is far behind the altai foothills and other Mongolian regions. For example, Mongolia has already taken "hoomii" art as a "national treasure", while Russia figure tile republic regards it as a “National Spirit”. The two countries have already figured the excavations and research of "hoomii" art into the national art key discipline and have introduced in the Mongolian vocal music teaching system.
Translated by Chai Limeng
Editor: Liu Fang
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