Though separated by national borders, the sovereign country of Mongolia and the Inner Mongolia Autonomous Region in northern China share urtyn duu or long-song as common cultural heritage. Among Mongol communities in both Mongolia and Inner Mongolia, the tradition of long-song is intrinsically connected with nature: the songs illustrate the landscapes, animals, nomadic lifestyle habits, and local legends of specific regions through their melodies, vocal techniques, and lyrics. Mongol clans historically cycled their migratory patterns around a particular region, and thus long-songs–which illustrate a sonic map– have become an avenue for singers to perform ethnic and regional identity.

In this paper, I argue that because of long-song’s deep connection to place, Mongols from both Mongolia and Inner Mongolia are able to use the tradition to navigate their complex regional identities and maintain a connection to a nomadic past, present, and future in the face of colonization and loss of traditional culture. I analyze the intrinsic relationship between long-song and place before highlighting two long-term case studies of two contemporary professional long-song singers with contrasting backgrounds: B. Nomin Erdene, a Khalkh singer from Bayankhongor, Mongolia who currently resides in Ulaanbaatar, and Amgalan, a Khorchin singer from Inner Mongolia who primarily works in Beijing. I explore the two singers’ repertoire, training, and personal thoughts, examining how they incorporate modernity into long-song traditions to perform and negotiate Mongol identity. Finally, I contend that professional singers use staged long-song to maintain a connection to nomadic culture and navigate their shifting identities across different audiences.

Musical improvisation engages with spirituality as a multidimensional practice, encompassing self-transcendence, relational depth, and temporal sensitivity. I examine how spirituality in improvisation manifests across religious, secular, and intercultural contexts, with a focus on its cultural specificity and philosophical dimensions. Religious approaches often cultivate profound connections and introspection, while secular perspectives view spirituality as emerging from creativity and attunement to the present moment.

Using the Art Omi music residency as a case study, I explore how intercultural improvisation highlights the tensions between universality and cultural specificity in defining spirituality. Daoist wu wei embodies intuitive adaptation in harmony with natural flow, as seen in East Asian musical practices. Jazz improvisers navigate relational dynamics, balancing tradition with spontaneity, while classical-trained improvisers root spirituality in disciplined form and real-time creation. These perspectives highlight the interplay of intuition and structure, framing spirituality as a dynamic, culturally embedded phenomenon.

I argue that spirituality in improvisation is culturally shaped, not universal. When intercultural improvisation is detached from its roots, it risks reducing spirituality to mere emotion, raising questions about balancing intuition with structure and the role of technical mastery and cultural respect. By examining the interplay of rationality and emotion, this research demonstrates that spirituality arises not only from spontaneity but also through structured coherence. In this context, improvisation becomes a site for negotiating creativity, relationships, and transcendence, challenging static spiritual definitions. It highlights cultural specificity and philosophical depth, framing spirituality as co-constructed through individual expression, cultural context, and collective interaction.