View source for Western Mongolian biyelgee and ikel music

== Summary ==

Western Mongolian biyelgee and ikel music presents instrumental dance tunes and related fiddle repertoire associated with western communities. Biyelgee is a dance practice with distinct community styles; this listening category focuses on its music and neighboring instrumental traditions.

== Contemporary and trending ==

Community performers, stage ensembles and individual instrumentalists continue the repertoire. Modern arrangements are labelled as such; repeated dance videos using one backing recording do not become separate musical recordings.<ref>[https://ich.unesco.org/en/USL/mongol-biyelgee-mongolian-traditional-folk-dance-00311 Mongol Biyelgee — UNESCO].</ref>

== History ==

Recurring rhythmic figures support movement and contrast with sustained song melody.<ref>[https://pure.uva.nl/ws/files/259492111/Thesis.pdf Bii-Biyelgee practice and institutional networks — University of Amsterdam thesis].</ref><ref>[https://ich.unesco.org/en/RL/traditional-music-of-the-morin-khuur-00068 Traditional music of the Morin Khuur — UNESCO].</ref>

== Musical characteristics ==

Ikel, morin khuur and other instruments appear in different settings. A modern yatga arrangement of a dance tune is not presented as an archival ikel performance.

== Geography and communities ==

Khovd and Uvs provide the principal regional frame. Bayad, Dörvöd, Khoton and other community names remain meaningful within it. Concert circulation beyond the west does not imply uniform traditional practice throughout Mongolia.

== Artists ==

Narantsogt’s recorded repertoire, A. Mungun, and Steve E. Morel’s identified Bayad and Khoton interpretations offer different contexts. Khatun Yatga’s Savardan arrangement represents an explicitly modern ensemble setting.

== Related genres ==

[[Mongolian pop and R&B]]; [[Mongolian hip-hop]]; [[Mongolian rock and indie]]; [[Mongolian folk rock and metal]].

=== References ===
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