The framed gongs became a member of the drum circle family in about 1904. The gong was earlier called naun- nin:. Zeyathein lithic inscription and Myauk Guni Pagoda inscription of 1197 and 1241 support this. The gong by itself was used in war or to assemble people. Now the gongs are hung in a frame-work. The brass Framed Gones (maun: zain:) has 8 or 10 brass gongs in a framed. At the start, seven gongs were framed. The gongs of the upper frame were tuned to the fifth, first and seventh degrees whiles the lower four were tuned to the second, first, seventh and second degrees. Later, nine gongs were framed and tuned to the second, first, seventh and sixth degrees in the upper frame and to the fifth, fourth, third, second and first degrees in the lower frame. Now, seventeen gongs are framed to the lowest fifth degree and the highest third degree.

The tradition of doira performance in Uzbekistan is an integral part of the nation’s musical heritage and identity. The doira is a circular frame drum made from a wooden rim covered with leather, often fitted with metal rings or jingles. It produces a wide range of tones and rhythmic effects, serving as both a solo and accompanying instrument.\nIn Uzbek culture, doira is played in various contexts: to accompany classical music genres such as maqom and ashula, at weddings and festive gatherings, and as a key rhythmic foundation in folk dances. Master performers develop a deep understanding of usul (rhythmic cycles), improvisation, and expressive performance techniques.\nBeyond its musical role, the doira represents the artistry, craftsmanship, and communal traditions of Uzbekistan, uniting people in celebration and cultural expression.