Abstract This article analyzes and compares two large-scale choral-orchestral works by the Mongolian composer Byambasürengiin Sharav. Written two decades apart and under two different political regimes, the pieces both seek to portray the story and legacy of Chinggis Khaan but do so in different ways. I will provide background on Sharav and discuss Chinggis Khaan in the modern Mongolian imagination and then attempt an analysis of Sharav’s musical language and an examination of how this language conveys the story of Chinggis Khaan in the two pieces.
Joe Lerangis (Fri,) studied this question.