The Harsh Reality for Traditional Musicians; Out of the 30 musicians who graduated alongside Narangerel B. from the Mongolian Conservatory in 1993, only three remain in the profession. Low wages pushed many to seek livelihoods abroad—in Korea, America, or anywhere offering stability—often leaving their instruments behind. Even those honored with national awards and esteemed titles, like Narangerel, found such recognition rarely translated into financial security.

A Journey Through Transition and a Life Devoted to Music; Graduating from the Mongolian Conservatory in 1993 during the nation’s transition from socialism to democracy, Narangerel B. embarked on her musical journey at a time of uncertainty. With her yatga (flat harp) in hand, she began weaving the spirit of the steppe into melodies that would span decades. Facing financial hardships common among cultural practitioners, she balanced part-time teaching at the conservatory with a full-time role at the private ensemble Tumen Enkh. Like many traditional musicians, she earned most of her income during the short summer tourist season, often surviving on less than $500 for the remainder of the year.

Narangerel’s musical journey was also deeply shaped by her teacher, B. Naranbaatar, a renowned composer at the conservatory. Recognizing her exceptional talent, Naranbaatar composed a special piece titled “Fast Black Horse” exclusively for Narangerel, his favorite yatga player. This composition remains one of her most treasured pieces, symbolizing the unique bond between mentor and student and the passing down of musical heritage.

Women and the Weight of Music; For many female musicians, their craft endures only with the support of a spouse or family member. Narangerel herself acknowledges that she has been fortunate. Others were not. “Most of my peers left music for survival,” she reflects. “They work any job they can find to support their families.”

Music as a Dialogue with Naturel; Yet, Narangerel stayed. Not merely out of duty, but because her music has always belonged to something greater: the land itself. Mongolian traditional music delivers feelings of nature, nomadic wisdom, harmony, and historical bravery. She finds her truest resonance when performing outdoors, where each note converses with nature. The gentle echoes from the forest, the whispers of water, the chatter of birds—to her, these are nature’s responses to the offering of music. Mongolians have long believed in this sacred bond; music is played under the open sky to honor nature, to summon rain, or to celebrate community milestones.

One of Narangerel’s most cherished memories is an outdoor concert deep in the taiga forests of Khuvsgul, where the reindeer herders live in symbiosis with the wilderness. The sounds of her yatga blended with the calls of the forest, creating a harmony that bridged human culture and nature’s breath.

From the Taiga to the Global Stage; Yet, her music has also traveled far beyond the steppe. In 2000, she stood on a global stage alongside the renowned cellist Yo-Yo Ma as part of the Silk Road Ensemble. Since 1998, Ma has been a guiding force behind the ongoing Silk Road Project, which explores traditional and new music from countries along the fabled Asia-to-Mediterranean trade routes—China, Iran, Mongolia, and everything in between. Together, Narangerel and the ensemble performed “Kharakhorum,” a composition by S. Sarangereltekh, named after the ancient capital that once united cultures along the Silk Road. The piece wove Mongolian instruments like the yatga and morin khuur (horsehead fiddle) into a symphony with Western strings—a soundscape embodying the unity of civilizations. The performance at Royce Hall in the United States was particularly memorable, as Narangerel’s playing surprised and captivated the audience. Ma also brought a long song singer from Mongolia, highlighting the vast vocal techniques developed for communication across the desert. This performance remains the pinnacle of Narangerel’s musical journey.

Dreams for the Next Generation; But her dreams extend further still. Narangerel envisions founding a music school dedicated to nurturing the next generation of traditional musicians—heritage carriers, as she calls them. She hopes to create a concert platform that fosters creativity and gives Mongolian musicians the recognition they deserve, equal to their Western classical counterparts.

Heritage Entrepreneurship and Creative Pursuits; In recent years, she attempted to form a band and perform for travelers, seeking to blend culture with tourism. Yet, the short season, high taxes, and long periods without work dampened her efforts. Even so, Narangerel’s spirit remains unbroken. She continues to compose and play, crafting delicate earrings from sustainable materials—small, wearable tributes to the music she loves. These earrings are not merely accessories; they carry the rhythm of her yatga, designed for female singers and music lovers who understand the symphony woven into each piece.

SteppeMind’s Commitment to Heritage Musicians; At SteppeMind, we stand with musicians like Narangerel. We believe heritage musicians are not relics of the past; they are entrepreneurs, creators, and cultural anchors. We work to connect traditional musicians with travelers and businesses, ensuring their art is valued and sustained. We challenge the outdated notion that traditional music is secondary to Western classical forms. Every civilization carries its own masterpiece—none superior to another.

We dream, alongside Narangerel, of a future where yatga players gather to form ensembles that push creative boundaries. A future where the music of the steppe is not only preserved but thrives, echoing across both Mongolian valleys and global stages.

Because music is not merely sound. It is the voice of heritage. And heritage deserves to be heard.