The Sompoton is Sabah’s native musical instruments of the Kadazandusun. The instrument’s name closely derives from the word Miampot, which means in unison by blowing or sucking the mouthpiece. This mouth organ is the most fascinating of the Sabah native musical instruments. Sompoton consists of eight pieces of bamboo pipe inserted into a dried gourd, which are arranged in two layers of raft-like configuration. Seven of the bamboo pipes are named according to local terminology and they are lombohon, monongkol, suruk, baranat, randawi, tuntuduk and tinangga. One of the pipes has no sound, but merely balances the bundle. By blowing or sucking the gourd’s mouth, the player can produced a soft sweet harmonious sound. A small lamella of polod palm (like tiny bungkau) is inserted in the side of each sounding pipe near its base. The pipes are fitted into a hole on one side of the gourd and sealed with bees wax. The lamellae lie inside the gourd and provide the sound of the completed instrument. The pipes are bound with thin strands of rattan. While playing a sompoton, the player covers and uncovers the ends of three of the four shortest pipes with three fingers of his right hand and three small openings cut in the base of the front shortest pipe and front and back pipes of the longer raft with fingers of the left hand. The sompoton can be played as a solo instrument for personal entertainment or in groups to accompany dancing. It is popular among the Kadazandusun.

In the Sán Dìu language, soọng means singing, and cô means intone. Soọng cô is a lyrical folk song genre of the Sán Dìu ethnic group, with lyrics between men and women. Soọng is written in the form of "seven words and four verses", created by the farmers themselves, passed down from generation to generation, mainly by word of mouth or recorded in ancient Han characters. The words are placed in the form of seven words and four verses, written in Han characters, and transmitted orally; There are 3 parts: call, tell and answer. They sing during leisure time, when men and women meet, gathering around the fire with the belief that they will be supported by the kitchen god. The theme is associated with daily activities, when having guests come to the house, having friends, greeting neighbors, getting acquainted, making love between men and women, and seeing off friends. Soọng cô has two forms: love songs associated with daily life and productive labor (hy soon Soọng cô) and response songs during festivals and weddings (sếnh ca chíu cô). In the first form, the singing content is both for learning and sometimes for showing off talent. In the second form, you must sing according to the required songs and melodies (the stage of performing wedding rituals). If singing at home, it must be sung in order to show the solemnity of the ritual (sing to greet the gods, ancestors, the elderly, then parents, relatives, neighbors, etc, then begin into singing content); When singing outdoors, lyrics can be improvised to suit specific circumstances, demonstrating the singer's creativity and flexibility. These songs are like blessings for the bride and groom and their families. Regardless of the form, Soọng cô singing requires the singer to have extensive knowledge, quick wit, intelligence, talent for responding, and good at creating new lyrics for songs and melodies. The singing rhythm is stable in length, often using 2/4, 4/4 rhythm; The vocal range is not too large, the sound intervals always follow each other evenly, there are few sudden ups and downs, and there are few sudden fluctuations.

Folk art and singing, solo performance, has a long history. "Chầm riêng" is singing, "Chà pây" is the name of a type of instrument originating from India. “Chầm riêng Chà Pây" is “đàn ca” or “ca kể chuyện”. This musical instrument is also used in ceremonial music, wedding music and sacrifices to gods or singing and dancing. When playing, artists rely on stories to improvise into wonderful seven-word verses to sing. They also improvise with real situations, so this art develops in a variety of content and expression styles. The Chapei box is similar to the bottom lute of the Vietnamese according to the pentatonic scale system. Chapei has a deep, warm, deep bass, suitable for narrative and emotional music. Before performing, they make offerings to the Patriarch.

The Sấng Cọ singing, also known as Ví singing in Lưu Tam , has existed for a long time. It is a lyrical folk song genre written in the seven-word form, created by simple farmers. These songs are preserved and practiced orally or recorded in ancient Chinese characters. The Sấng Cọ singing has three main types: ritual singing, Ví singing and love singing, each of which reflects the thoughts, feelings and desires of ethnic people in their daily lives. Participants are divided into groups to sing in response to each other on many topics, and can sing according to available lyrics or improvise. Although the lyrics are rustic and simple, they have rich content and high educational value. The Sấng Cọ singing can be sung anywhere such as in the house, on the street, at the edge of the forest or on the fields... expressing the unique customs and practices and is the pride of the Sán Chay ethnic people for generations.