卫拉特蒙古、卡尔梅克人长调，正随着我国学界对蒙古族音乐研究目光的往西拓展而日益受到关注。局外人聆听长调所引发的“悠长”“自由”之感，在研究者的研究过程中无法依据现有常规乐谱记写标准对其节奏、重音进行严格划分，而作为局内人的演唱者在表演过程中有着一套内部逻辑，他们在“阿布次太”的循环模式下求取腔词之间动态的平衡。论文在对这一模式予以整体介绍的基础上，借用语音学方法，从词曲互斥与词曲延展、由“说”到“唱”的转化两方面来解析其中的腔词融汇过程。

The Oirat Mongolian,Kalmyk Long Song(Urtin Duu)has been receiving increasingly attention as Chinese scholars are continuing to expand their studies of Mongolian music westward.For outsiders,existing conventinal music notation could not fully capture the sense of “longness”and “freedom”evoked by the Long Song, nor could it trictly mark the rhythm and stress.In contrast,as insiders,singers follow an internal logic during their performance process and they achieve a dynamic balance between tunes and lyrics with a cyclic pattern called Abtsta. This article first provides an overview of this pattern and then uses a phonological approach to analyze the integration of tunes and lyrics from two perspectives:the mutual exclusion and extension between tunes and lyrics, and the transformation from “speaking” to “singing”