| The Mawei huchin is Mongolian bowed string instruments with a long history.It has formed a form of homogeneous divergence and pluralism during the changes of history.The thesis is based on the theoretical system of Three types of stringing and five methods of playing the Mawei huchin"proposed by the national Matou chin art inheritor Burin Bayar,and focuses on two of these methods,namely the two ‘Boilalut-Darilag’,which are based on the Uriyelet method The ‘Boilalut-Darilag’ is based on the Uriyelet method and the ‘Boilalut-Dahrag’ is based on the Borjigin method.The word‘Boilalut’is a Mongolian word for the sound of a camel,and‘Darilag’translates to the method of playing.The name ‘Boilalut-Darilag’ is derived from the sound of a camel’s call.The two types of‘Boilalut-Darilag’are the core techniques that are essential to the ‘Three types of stringing and five methods of playing the Mawei huchin’,and it is therefore essential to study the ‘Boilalut-Darilag’ of the Mawei huchin in depth.This paper is based on the ethnomusicological fieldwork method,collecting and collating the music of the national Matouchin art inheritor,Brin Bayar,who plays the ‘Aser’.Secondly,it uses the method of musical morphological analysis to study the performance techniques and artistic expression of the two types of ‘Aser’played by the ‘Boilalut Darilag’.The first chapter of this article defines the ‘Boilalut-Darilag’of the Mawei huchin,explores its causes and principles of sound production,and elaborates on the ‘ Boilalut-Darilag ’ of the Uriyelet stringing method and the‘ Borjigin stringing method ’.This chapter explores the concept of the‘Boilalut’and the ‘Atugulu Boilalut’of the ‘Boilalut-Dari Lag’ and their playing techniques.The second chapter discusses the two playing methods of Uriyelet specific string method ‘Boilalut Darilag’ and Borjigin tuning method ‘Boilalut Darilag’.‘Aser’in the music and summarize the‘individuality’and ‘commonality’ of its performance techniques. |