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Musically inspired as a child by the great composers of Mongolia and around the world, it has long been a dream of mine to share my music with others. EDUCATION Grand Valley State University BA-in Music Performance PROFESSIONAL ACHIEVEMENTS
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------- BIOGRAPHY DEGI is one of Mongolia's modern shining musical stars, a new step forward in Mongolia's string musical heritage. She began as so many do, painfully (for the listener) scraping out basic scales on a violin too large for her seven-year-old arms at the Music College in Ulaanbaatar. The violin is not a traditional Mongolian instrument, but was probably introduced to the country by the Russians, always noted for their classical music. Whatever else the west thought of the socialist system, no one can deny it produced wonderful music – and wonderful musicians like DEGI. DEGI, like so many Mongolians, was a musical child. In her first year of school, Mongolian talent scouts visited her classroom looking for talent to be trained; they found little DEGI, and she was whisked away to train in music. Before television and radio, before the DVD, CD and cassette player - before recorded music, every culture revelled in making music. British Victorian parlours always had a piano, and every child whose family could afford it learned to play the piano, even if they only learned how to pick out Chopsticks. Mongolians, with the long winter evenings, revelled in music even more, and the long tradition of songs and instrument-playing lingered longer than in many western countries. That is an indelible part of DEGI's background and soul; but we as audience can only be glad that some forgotten talent scout saw DEGI's potential - and that music is so important to Mongolians even today. “College was tough,” she explains, “as we had to practice every day for countless hours. Clear enough, hard work paid off and I appreciate the effort…and the discipline it has given me to pursue this career.” Western pop in particular has been affecting Mongolian modern music, but the best of Mongolia's musicians retain a significant Mongolian influence – not just in the language used, but in the very spirit and soul of the music itself. DEGI says that her music is “an instrumental fusion of traditional Mongolian melodies with a modern, techno-based edge to them…my own distinctive and intimate style…and all the songs are played straight from my heart.” DEGI is classically trained, so her violin skills and technique are impeccable; but she is a young, vital, beautiful Mongolian woman, so she brings her own generation's instincts to her choice of music and presentation style. On stage she emits an electric impulse that is palpable; it is hard for your eyes not to watch her every move as your ears are moved by her music. She dances, skips, smiles enchantingly and wholeheartedly, like a child, and brings you inside the tune; you want to dance to the beat or melt to the melancholy. DEGI is not just a wonderful musical performer with talented fingers, a degree in musical performance and education (1986-98) and a BA in Music Performance from Grand Valley (Michigan) State University (2003-2005). Not just a pretty fiddler, she also has a BS in English Translation (1998-2002). While at Grand Valley State University, she was Associate Concertmaster for the Symphony Orchestra, having been granted a Music Honour Scholarship and an Orchestral Scholarship. MY LIFE'S HIGHLIGHTS * Toured Japan and Korea promoting my violin solo CD (2003). * Released a CD of fusion music blending classical and techno influences with traditional Mongolian melodies produced in Singapore (2002). * Offered a full scholarship to pursue Master's at the University of Science and Technology (2002). * Part of a trio that was awarded a jury alternate selection at the National Chamber Music Festival (2000). * Awarded a citation of achievement well teaching at the Yamaha Institute of Music in Mongolia (1999). * Graduated with honours from the National Music Conservatory (1998). * Won a silver medal at the National Young Violinists Competition (1996). I was born in Ulaanbaatar, where I grew up and studied. I entered the Music College of Mongolia in 1986 at seven and graduated in 1998. I studied in the US for two years for a music degree under Dylana Jenson, distinguished Professor of Music at Michigan's Grand Valley State University. I also studied at the Mongolian University of Science and Technology, graduating 2002 with a Bachelor of Arts degree. I started playing for the public when I was in Music College, starting with classical music and then experimenting with contemporary music. During my school years and following, I formed the Sparkling Trio with two fellow students. I still think our inspiring concert program and friendship encouraged me and kept me to stay close to my audience and the stage. I played at an Ulaanbaatar nightclub with the Black and White band, which gave me lots of practice and a variety of music to explore. I performed solo concerts in Mongolia, Korea, Japan and the US. In August 2003 I released my first solo CD, called High in the Hentii Mountains. It has seven tracks, with a number of popular old Mongolian tunes, which were rearranged in a more modern style, with a range of feelings and moods. I still play selected pieces at concerts and private gatherings. HOW DID I START? It is a long story. When I was going to the kindergarten, teachers from the Music Conservatory were scouting for potentially musically talented children. They tested for musical skills and physical make-up, especially our hands and fingers. They picked me out of the class as a potential musician, and my mother and family thought it was such an honour to be selected for the Music College that they encouraged me wholeheartedly to take up the violin. I am classically trained. My teachers all studied in Russia in the socialist period. Socialist Russia produced many of the best classical musicians in the world, which I see as one of the bright sides of socialism. I personally adore Paganini, who was one of the most brilliant violin players in history. My dream is to feel the same as Paganini felt about music; how he possessed the violin and was possessed by it. Fusion violinists like Vanessa Mae are popular; I like her music and I think that she's very talented. The violin is a great classical instrument and I while I often play classical music, I have emotions, as all of us do, and I get inspiration from many sources. I use the violin to express those emotions as much as possible. I admire Vanessa Mae especially because she introduced the classical violin as an instrument for playing popular and contemporary music. Growing up in Mongolia, it was natural for me to love classical songs, still "evergreens" in the hearts of all Mongolians. As I grew up musically, I decided to play these melodies in a more contemporary style, to reach out to all audiences, not only Mongolians but also foreigners. I enjoy playing these tunes tremendously; my playing comes from my heart and my history. I am also so happy that the audience likesthem so much. As I said, I give folk melodies a modern treatment. The melodies are the same, but the backing and arrangements are modern, and to top it all I played many of them on my Yamaha electric violin, which really a uniquely different sound from the classic violin. My first CD has seven tracks; the first four (High in the Mountains, Melody of the Heart, Migrating Birds, Theme from Uran Khas/Waltz) are old Mongolian classic compositions, truly Mongolian in character. The rest are contemporary compositions especially written for me. On my second CD, there are enchanting tunes, an instrumental fusion of traditional Mongolian melodies with a modern, techno-based edge. This is my own distinctive and intimate style, and all the songs are played straight from my heart. It gives me great pleasure to share part of my Mongolian culture with you.
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