Originating from royal court singing, Huế Folk Songs gradually became folklore to reach the public. It was formed and developed around the 17th and 18th centuries and was most prosperous in the 19th century, under Tự Đức. The performance environment is a narrow space, with a limited number of performers and listeners; and not sing under the sun. A singing performance consists of 8 to 10 people, in which a standard orchestra has 4 or 5 instruments in the classical quintet (moon lute, pipa, 2-chord fiddle, 16-string zither, and monochord). Depending on the type of instrument, musicians play techniques such as pressing half a step, one step, one half a step, 2 to 3 steps, pressing strokes, pressing pecks, pressing jumps, pressing vibrato, pressing finger flips; tap, enjoy, peck, press, cover, tap, flash, flick, fly, spread., etc to be creative while accompanying music. Huế Folk Songs currently have 31 original songs, of which 13 are Northern tunes, 5 are Southern tunes, 5 are Xuân Nam tunes, 2 are Northern tunes (Cổ bản) and Southern tunes (Nam Bình), which are sung in dựng breathe. When singing, the singer must be careful in pronouncing and pronouncing words in standard Hue language, clearly understanding the tempos and speeds of each musical song, the typical licks, how to sing together, sing about, and sing in parallel breath, external rhythm singing, mature and authentic singing, how to take a breath, express strong and light nuances in each verse of the Huế Folk Songs system. Singers and musicians must be musically talented and must have a long training process.

The art of crafting and playing with Kamantcheh/kamancha (“little bow”), a bowed string instrument, has exsited for more than 1,000 years. In Iran and Azerbaijan, types of this art constitute major elements of classical and folkloric Music. Classical Iranian Music refers to the urban music with “Radif” repertoir; the Folkloric Kamantcheh Music refers to the mainly rural musical traditions of Azarbayjan, Lorestan, and Torkaman Sahra. In both countries, contemporary practitioners mainly make and use four string Kamantcheh/kamancha composed of a body (chamber, neck and pegs) and a bow with horse-hair. Some Folkloric variants with two or three strings are also popular in Lorestan, Azarbayjan, or Torkaman Sahra, Iran(also, cf.D). Craftsmanship starts with choosing wood material. Craftspeople use walnut and/or mulberry for the body, and cornel for the bow. In Azerbaijan, only ball-shaped resonating chambers are crafted. Iranian communities produce the following resonating chambers/sound-boxes: 1-Pošt-baste(""closed in the back""):A hollow oval with sheep-skin; 2-Pošt-bāz(""open in the back""):A half-cone, with sheep-skin on one end. Craftspeople create a bowl and a round fingerboard, and unite them with an iron billow that ends up with a base shaft at the bottom. The chamber’s open side is covered with sturgeon, catfish, sheep or bovine bubble skin. They very often inlay the body with mother-of-pearl or other materials to express and mark different motifs and add their personal touch to the external decoration. In Iran, calligraphy, wood carvings, or inlayed jewels and shells are also practiced. The instrument rests on the base shaft and stands vertically on performer's lap or beside them; performers move the bow horizentally on the strings, and pivote Kamantcheh round the shaft to facilitate transfers on the strings. Kamantcheh/kamancha produces strong and subtle sounds, close to human voice with the sound diapason ranging from small octave ‘A’ to the third octave ‘A’. Players perform large works and etudes using various performing techniques, individually or as part folk orchestras. Generations of performers have left invaluable heritage of Kamantcheh/kamancha works, which are reproduced by young performers, adding their own playing dynamics and colouring. Transmitted from generations to generations at professional and amateur levels, within families or professional education institutions, this art brings together a large community of Kamantcheh/kamancha music lovers and listeners and continues to be a marker of cultural belonging.

Azerbaijan,Iran 2017

Production of folk musical instruments in Uzbekistan and traditions of performance. The history of traditional folk musical instruments of Uzbekistan is incredibly rich and diverse. Rubab is a string bow instrument. It has a wooden convex body (round or oval in shape), a leather deck, 4-6 intestinal, silk or metal strings, usually tuned in quarts, and resonating strings. The most common rubabs are 800-1000 mm long. Sound is extracted usually by plectrum. The Uzbek orchestra of folk instruments includes 3 varieties of rubabs: prima, viola, tenor. Varieties of rubab are found in various peoples of the East: Afghan, Dulan, Kashgar, Pamir and other rubabs. It is also known that the rubab is played in North Africa and in the southern provinces of Spain. It was borrowed to Europe in the XII century under the name of Rebra. In Turkey, there is a three-string rubab. Among the Persians it is called "Rabet Barbitus".

National Intangible Cultural Heritage, Republic of Korea Akgijang refers to the skill of making instruments used to play the country’s traditional music or to an artisan with such a skill. It is presumed on the basis of murals dating from the Goguryeo Period displaying wind, string, and percussion instruments that such artisans existed during the Three Kingdoms Period (57 BC – 668 AD). During the Joseon Period (1392 – 1910), musical instruments required by the government were made at an independent institution named Akgijoseongcheong (the Office of Production of Musical Instruments) within the Royal Court. The number of types of the country’s traditional musical instruments comes to 60 – 70. Gayageum (twelve-stringed zither) and geomungo (six-stringed zither) are the leading ones, followed by ajaeng (seven-stringed zither), daejaeng (fifteen-stringed zither), and hogeum (two-stringed fiddle). Wagonghu (harp), sugonghu (vertical harp), dangbipa (four-stringed Chinese mandolin), hyangbipa (Korean mandolin), yanggeum (dulcimer), geumgwasul are produced, but rarely used. Generally, the sounding board of a string instrument is made of Paulownia wood. The bottom board is made of chestnut and pine wood. The wood of the jujube tree, ebony, and Chinese juniper tree is used to make pieces decorating instruments. Paulownia, in addition to being rot resistant, has good resonance properties and does not crack during drying. Akgijang is protected through designation as important intangible cultural heritage. Buk (drum) making skills were integrated into Akgijang in March 1995.

In Khorasan of today a special music known as the music of “Bakhshis” is widespread. It is played by a master-musician playing Dotār (the regional long-lute type instrument with two strings). The music constitutes the local music of the region, played as solo, and accompanied by improvisations. Bakhshis sing epic and Sufic poems, containing mythological and historical themes. Presently, they perform in various gatherings of the locals, both cheerful and mourning; in the past other types of celebrations were attended by them, too. They perform their Maghams in Turkish, Kurdish, Turcoman and Persian. The contents the music of Bakhshis consists of legends, and historical and ethnic narrations containing epic, religious and romantic themes, performed as singing, ordinary speech, and citation in a repetitious manner. The events of the story are cited; and the poems are sung. Accordingly, the music of Bakhshis can be considered as a combination of music (vocal and instrumental) and verbal dramatic arts. DEFINITIONS: “BAKHSHI” In Persian, the word “Bakhshi” derives from the gerund “Bakhshish” meaning “granting”, conveying the impression that the Bakhshi is an exception in character, whom God has granted a gift. Accordingly, “Bakhshis should be able to sing, play, versify, narrate and make their own musical instruments.” MAGHAM: Bakhshis play regional Maghams, and their music is known as Maghami. Magham consists of pieces of instrumental and/or vocal music, influenced by the regional locals’ culture and beliefs. “Magham” is a popular word in other regions of Iran and some neighboring countries. However, the content and performances define Bakhshis music as especial in identity, while enjoying shared roots with the traditional music of the region, and the Repertory of Iranian Traditional Music, as well. TYPES OF MAGHAMS: The common Maghams of Bakhshis Music are as follows: Navāyī Navāyī is the most widespread Magham of the music of Bakhshis. It is diverse, vocal, rhythmless, accompanied by Sufic poems. The performer shall not be known a Bakhshi, unless he is competent in playing Navāyī. Modulations are observed in variations of Navāyī. Tajnīs A Turkish Magham, Tajnīs enjoys many intricacies which mark competent Bakhshis once performed. Tajnīs is vocal and rhythmless, accompanied by Sufic poems. In comparison with Navāyī, Tajnīs is poorer in its varieties Modulation in variations of Tajnīs are also popular. Gerāyelī/Gerye-ye Leylī (Leyli’s cry) Gerāyelī is a sorrowful Turkish magham, with poems narrating breakaways. The chanson enjoys rhythmic and rhythmless parts. Shākhatāyī A Turkish vocal and rhythmic magham, with sorrow in the vocal section, and cheer in the rhythmic one. Shākhatāyī embraces many varieties; and its long poems present religious themes. Loy Loy is an antique magham, belonging, specifically, to Kormanj Kurds of Northern Khorasan. It is a vocal and instrumental magham, with romantic and describing content. THEMES: The following provide Bakhshis Music with its common themes: (EPIC): “Kūroghlī”: An epical-historical story, narrating the gallantries of a hero named Kūroghlī in his battles against the rulers of his time; (HISTORICAL): “Shah Esmail”, narrating the gallantries of Imam Ali, the first among the Imams, utilizing the life story of Shah Esmail, founder of the Safavid Dynasty; (RELIGIOUS): “Ebrahim Adham”, the religious-Sufic life story of the Sufist, Ebrahim Adham; (ROMANTIC): “Leyli & Majnoun”, the love-story of Majnoun, and his beloved, Leyli. DOTĀR The only musical istrument accompanying the music of Bakhshis Dotār: a long-lute with two strings. (“Dotār”, in Persian, means an instrument with two strings). Traditionally, the strings were made of silk; and Bakhshis used to determine the desired thicknesses. Since around forty years ago, however, metal strings of desired diameters started to be employed instead. Bakhshis consider one string as male, and the other female. The male string remains open, while the female one is being used to play the main melody. The harmony provides the music with its unique character. The five fingers play the role of the plectrum. The bowl is pear-shaped, and is made of berry wood, as a unibody. The tall and slim handle/neck is made of stronger apricot wood. Bakhshis Dotār's hold 12 to 14 frets. Nowadays nylon has been substituted for the traditional sheep intestine as the material. PLAYING SKILLS: Khorasani Dotārs are played in different pitches. The major factors responsible for the variations include the diverse musical habits of the inhabitant ethnicities, and the verifiec “maghams” on the region. The two main pitches are, however, the, so called, Turkish and Kurdish pitches. Through the former, Navāyī, Tajnīs, Gerāyelī, and Shākhatāyī, among others, are performed, and, through the latter, Loy, Allāh-Mazār, Jafargholī, and the like.

Iran 2010

Inscribed in 2010 (5.COM) on the Representative List of the Intangible Cultural Heritage of Humanity In Korean music, jeongga (translated as ‘right song’) refers to vocal music that falls under jeongak (translated as ‘right music’). Gagok, gasa, and sijo are examples of jeongga, which were sung by the members of the high society for character development. Unlike other forms of jeongga, gagok is sung to the accompaniment of orchestral instruments, such as geomungo (six-string zither), daegeum (large transverse bamboo flute), gayageum (twelve-string zither), and piri (small double-reed instrument). Gagok is highly esteemed for its musical and artistic perfection. Gagok complies with the definition of the intangible cultural heritage within the Convention for the Safeguarding of the Intangible Cultural Heritage, as ‘practices,representations, expressions, knowledge and skills… that communities, groups, and… individuals recognize as part of their cultural heritage’. Gagok fits within the domain of ‘performing arts’. Traditional gagok is an original art form that has been sung by the Korean people for a long time, and is distinct from Western vocal music. Gagok is vocal music that was popular in the high society of the Joseon Dynasty (A.D. 1392-1897). Gagok is composed of twenty-six namchang, or songs for men, and fifteen yeochang, or songs for women. Thus, gagok features both masculine and feminine qualities. All notes in namchang are sung in geotsori, a strong voice resonating within the body. On the other hand, yeochang uses geotsori and soksori, a highpitched, thin voice. Gagok is composed in ujo, a key that is solemn and peaceful, or gyemyeonjo, which is melancholy. Gagok is played in either 16-beat or 10-beat rhythm. Accompaniment is typically comprised of orchestral instruments such as geomungo (six-string zither), gayageum (12-string zither), sepiri (small double-reed instrument), daegeum (transverse flute), haegeum (fiddle-like instrument), and janggu (hourglass drum). Yanggeum (hammered dulcimer) and danso (bamboo flute) are sometimes included in the accompaniment. Gagok has been preserved without transmutation for a long time, and it continues to be transmitted through the hands of master musicians. Gagok is intangible cultural heritage of great historical and artistic value.

South Korea 2010

Dombra is a traditional Kazakh musical instrument and object of material culture. The origin оf the name 'dombra' is associated with the activities of the voodoos ('baqsy', 'qam') - the shamans. It is believed that the prototype of the current dombra originated 4000 years ago. The magic formula 'dem bura' translates as "tune the breath", "revive (turn off) the instruments embodies the principle of assimilation of a living creature. In the process of evolution has acquired a stable dombra aesthetic function, form and substantive nature. Dombra consists of two strings (sometimes three and four string) is pear-shaped with a thin elongated neck and head with two pins. The tool is designed to accompany the singing and play kuys. Masters use two methods of manufacturing dombra: traditional and modern.

Kobyz (kaz. 'qobyz', 'qyl-qobyz') - is an ancient Kazakh bow two-stringed musical instrument and an essential attribute of rites conducted voodoo ('baqsy', 'qam') - a shaman. Kobyz belongs to the class of chordophones. It is manufactured by the special manufacturing technology from a single piece of wood - juniper (arsha, archa), maple, pine or birch. Kobyz id subdivided into three functional parts: 'bas' - a head, upper part, middle part; 'Keude' (base) - a middle part - is made in the form of an open cup, extended downward. Inside the cup is attached mirror. The bottom part - ayak (legs) part of the tool is tightened with camel skin ('deka'). The support (tiek) is based on the bottom part. Sounds of kobyz, removed by rubbing with a bow-string. The bow has an arcade shape and resembles a bow weapon: the bun of horsehair is tied to both ends of the bent branch and fixed by the strong thread of camel wool. Strings for kobyz are made of a bundle of 30-60 non-woven horsehair ('qyl'), which give a very dense timbre rich in overtones. General instrument construction and its decoration detail were combined into an integral system that reflected the inner world and the philosophy of the Kazakhs. The tradition of making kobyz and playing of kobyz music was very specific for traditional environment and professional communities.

It is an indigenous Kazakh performing art that combines theater, music, and puppetry. Some people say orteke is a street theatre, others might claim it is a musical instrument, some would see it as a decorative art, and children perceive it as a toy and use for entertainment. Orteke represents a simultaneous ensemble of music performance on Kazakh traditional two-stringed instrument dombyra and a hopping dance of a wooden puppet. Fixed on a surface of a traditional drum (daulpaz) by a metal rod a flexible wooden figure of teke (a mountain goat) is connected to the fingers of a musician by one or several threads. Flexible head and joints of a puppet are connected to the pulling string. As the musician strikes his/her fingers playing dombyra, the puppet starts hopping in sync with the beat set by an artist. The figure turns alive making amusing dancing movements and tapping a rhythmic beat on a firm skin surface of a drum.Some masters of genre can play with 3 and more puppets at the same time. Sound of dombra, audience public in anticipation, leather surface as flat as the steppe itself, and a small wooden figure of a mountain goat, tied to the puppeteer musician by a single thread, began to beat out the rhythm with its tiny hooves. This action, fascinating with its magical simplicity, is known among the Kazakh people as "Orteke", which is fancied by both children and adults.

Kazakhstan 2022

Zhetygen (kaz "zhe-igeen" - "seven strings") - is an ancient Kazakh and Turkish polychord musical instrument with soft and melodious sound, resembling a harp or reclined Gusli. Musical instrument’s name comes from its original form, which had seven strings. The origin of zhetygen associated with its legendary foundation. The essence of the legend associated with the tragic situation in the family of old nomad who lost seven sons due to the jute ('dzut' - a massive loss of livestock from starvation). Improvised music and sounds made during the play on zhetygen resembled images of children and reflected the grief of the father, alternately deceased sons. Since zhetygen became a symbol of the powerlessness of man in front of the elements of nature and the chaos of the universe. Zhetygen contributed to the emergence of instrumental kuy plays, the first of which is considered 'Zhetigenning zheteui' ('Seven kuys of zhetygen'). The most ancient type of zhetygen was an oblong box, carved from a piece of wood strung with seven strings. There was no upper sounding board, but there were pegs made of assyk (kaz. "assyq" - talus bone of a sheep and less frequently other small cattle) on this type of zhetygen. The strings are stretched by hand from the outside of the tool. Later zhetygen’s upper part was covered with a wooden deck. Under each string are substituted assyks on both sides acting as pegs. Moving them, you can set the string.

The Chinese zither, called guqin, has existed for over 3,000 years and represents China’s foremost solo musical instrument tradition. The guqin has seven strings and thirteen marked pitch positions. By attaching the strings in ten different ways, players can obtain a range of four octaves. The three basic playing techniques are known as san (open string), an (stopped string) and fan (harmonics). San is played with the right hand and involves plucking open strings individually or in groups to produce strong and clear sounds for important notes. To play fan, the fingers of the left hand touch the string lightly at positions determined by the inlaid markers, and the right hand plucks, producing a light floating overtone. An is also played with both hands: while the right hand plucks, a left-hand finger presses the string firmly and may slide to other notes or create a variety of ornaments and vibratos.

China 2008

Oud is the name of a short-necked lute-type musical instrument that is a plucked chordophone instrument with a historical background dating back to ancient times, in both countries. It is placed on the player's leg, and the performer stops the frets with the fingers of one hand and plucks with the other hand. The oud in both Syria and Iran consists of a sound box, which looks pear-shaped and is made of ribs of either walnut, rose, poplar, ebony or apricot wood. Walnut wood is usually the wood of choice because of its flexibility and beautiful color gradients. The ribs were shaped by moulds. The neck is attached to a soundbox which bears a pegbox. Three soundholes are made on the soundboard for technical and decorative reasons. Crafting a complete Oud takes 20-25 days. The natural wood is left to dry and harden, then it is treated with water and steam for a period of 15 days to build its durability. Ouds are crafted in different sizes for different sized-bodies, and beautifully decorated with wodden carvings and mosaic patterns. The soundboard is sometimes decorated in Eslimi patterns. The instrument slightly varies in size in different regions. The number of oud strings in both countries are 5 twin strings, and a sixth string can be added to the oud according to the wish of each craftsman by making additional tunes. The compass of this instrument is in bass and baritone ranges. It can produce both melodic and harmonic tones. It is performed solo as well as in ensembles. As this Human-Rights-friendly element is historically deep-rooted in the region, it is played in a very wide range of events including weddings, cultural events, festivals, family gatherings, and funerals accompanied by traditional songs and dance. Therefore, it serves as an identity-marker. The element is transmitted through master-apprentice training and it is also taught through musical centres and institutes, colleges and universities in urban areas. Players of both genders usually undergo years of training, and a skilled practitioner is able to improvise tunes. Grafters are mostly men although in recent years young women have developed an interest in crafting.

Iran,Syria 2022