Since the early 20th century, Mongolians have engaged in nearly constant debate about the present place of the indigenous traditions and culture in contemporary Mongolia. Socialist concepts of modernity and development, implemented and overseen by a Soviet-backed ruling party, allowed little room for the traditional art in its conception of a shine Mongol or “new Mongolia.” But as single-party rule waned in late-1980s increasingly diverse proposals began to emerge positing the need to expand the role of the traditional in the conception of the modern in Mongolia. The subject of traditional music, in particular, has had a surprisingly important place in these nationwide “discussions,” which have often played out on the public stages and in the national media. This paper will explore several examples of the arguments musicians and cultural officials have made for the transformative role of traditional music in helping Mongolians understand and confront crucial problems they as a nation face in contemporary, post-socialist Mongolia. This examination will highlight the multiple senses of “tradition,” “culture” and “the past” that Mongolians employ as they negotiate life in contemporary society.