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”