Having originated in bhani, a type of drama, mentioned in at least 10th century inscriptions of Cambodia, Lkhon Khol today is performed by males, wearing masks with the accompaniment of pin peat, a traditional orchestra, and melodious recitation. It performs only episodes from Reamker, a Cambodian version of the Indian Ramayana.\nLkhon Khol Wat Svay Andet is distinct from the generic form because its specific aim is to propitiate Neak Ta (guardian spirits of a place and its people; in this case the community of Wat Svay Andet), and in so doing, protect and make prosperous the community, its lands and harvest. When Lkhon Khol is performed especially during a fixed date after the New Year, spirit mediums are presented to facilitate interaction between the Neak Ta, performers and villagers. Spirit mediums, who predict the situation for the upcoming year, attend the performance and become possessed by the Neak Ta and then might get on the stage. When the spirits are satisfied by the performance, villagers are blessed by them, and if not, dancers will stop; the music continues; and the audience will fall silent and carefully listen to the spirits. Then the episode must be performed again. nIn Wat Svay Andet, Lkhon Khol has such spiritual significance in the community that some Reamker characters have become local deities in themselves. For example, on the campus of the monastery, a shrine for Hanuman (Monkey General) locally called Lok Ta Kamheng is built and venerated. The mask for Tos Mok (Ravana, King of the Demons) also lives and is venerated in a spirit house at the home of the family that has danced that role for several generations. In addition to the intrinsic specificity of the Wat Svay Andet form, some external differences are noted, such as the fact that three of the key roles are not masked. In fact their faces are painted white, indicating that they are neither mortals nor gods. The costumes, which are very refined with magnificent embroidery, are also different especially from those of the Battambang Troupe. Melodies for recitations are also different and richer. nLkhon Khol Wat Svay Andet is not performed by professional artists, but by the villagers themselves, and they do not perform for money but for merits and their community’s well-being. Everyone in the community is obliged to contribute, either by direct participation in the performance or by sharing support, e.g. financial or labor. Even villagers, who have migrated for work, tend to come back for the ritual and believe that if they don’t come, they could be struck by illness or bad luck.

Shashmaqam (means the six Maqams (modes)) is a Central Asian musical genre (typical of Tajikistan and Uzbekistan) which firstly developed in Bukhara. Shashmaqom (in Farsi - "Six maqoms") is a leading musical-cyclic genre of musical heritage of Uzbek and Tajik people. It includes a cycle of complex and perfect instrumental as well as vocal compositions encompassing different types of melos, forms, usuls (rhythmic formulae) and performances. Shashmaqom is a cycle consisting of six maqoms, namely Buzruk, Rost, Navo, Dugoh, Segoh and Iroq. Each of these consists of two parts respectively, i.e. instrumental one (which is called "Mushkilot") and vocal one (which is called "Nasr"), representing more than 250 cycles of instrumental and vocal compositions in total. Shashmaqom got formed in urban environment, and its bearers of traditions were well-known musicians and singers. Its vocal part was performed in Uzbek and Tajik languages. The texts were mainly taken from the poems of classics of oriental poetry (i.e. Rudaki, Jami, Lutfi, Navoi, Babur, Khafiz, Fizuli, Amiri, Nodira, Zebuniso, Ogahiy and others) and were dedicated to love-related, lyrical, philosophical, didactic, religious themes. Folk poetry examples were also used. Most widely used musical instrument was tanbur. It is based on tuning tanbur that the tonal basis of maqoms emerged. Instrumental part of each maqom included instrumental compositions such as "Tasnif", "Tarje", "Gardun", "Mukhammas" and "Sakil", performed either solo or by instrumental ensemble. However, each part differed with its own tune, character of melody, structure and usuls of doira. Vocal parts are considered the most difficult and complete ones in terms of structure, melos and form and are divided into two cycles (shuba): the first one includes "Sarakhbor", "Talqin", "Nasr" and "Ufar", performed by leading singer - hofiz (their melodies are more developed, of great range and complex form). Between main parts "Tarona" was sung by vocal ensemble as a connecting one (it is a small vocal piece, which has its own tunes, feature and forms). The second cycle (shuba) includes five-part cycles "Moghulcha" and "Savt" (except maqom "Iroq"). In addition to main parts, each maqom incorporates additional compositions: instrumental one (naghma, peshrav, samoyi, hafif), and vocal one (uzzol, ushshoq, bayot, chorgoh, nasrullo, oraz, khusayniy, navrozi sabo, khoro and ajam), the creators of which were bastakors (creators of oral musical tradition). Shashmaqom got formed, has been preserved, mastered and transmitted from generation to generation verbally, based on "Ustoz-shogird" ("master-apprentice") method of learning.

Khovd Province, located in western Mongolia, is a vibrant tapestry of majestic landscapes, diverse ethnic communities, and deep-rooted cultural traditions. Home to more than ten ethnic groups—including the Kazakhs, Torguud, Durvud, Zakhchin, Uriankhai, and Myangad—Khovd is a cradle of intangible cultural heritage passed down for generations.\n\nSurrounded by sacred snow-capped peaks and vast river valleys, Khovd is rich in biodiversity, with over 1,300 plant species and hundreds of rare and endangered animals, including snow leopards and Altai argali. Its historical landscape is just as abundant, featuring ancient rock carvings, deer stones, and the renowned Gurvan Tsenkher Cave with 40,000-year-old petroglyphs.\n\nThe province is a living museum of nomadic knowledge and craftsmanship. Locals uphold centuries-old traditions of herding, long-distance camel caravans, and skilled artisanal work—everything from intricate ethnic costumes and woodcraft to leather and felt production. Unique musical and dance traditions, such as bielgee (expressive dance), Tsuur flute playing, and the haunting throat singing khoomii, echo across the region, preserving the voices of the past.\n\nAnnual festivals celebrate horse racing, wrestling, and the famed Kazakh Eagle Festival, showcasing the enduring bond between eagle hunters and their majestic birds. Epic poetry, the melodies of the horsehead fiddle, and region-specific tea customs further enrich Khovd’s living cultural heritage.\n\nThis documentary journeys through the soul of Khovd Province—where every mountain, melody, and movement tells a story. It’s a place where Mongolia’s ancestral spirit is not only remembered but proudly lived every day.

The ancestors blew this flute when they sentimentalized recalling their young memories. It was created in the double form to refer that the life sharing with other is better than the solitude. It's usually blown by the elders and the married persons. First and foremost the Mai Kha bamboo is cut into two pieces of flute in desired measure. The bigger one is referred as Julumar (female) and the smaller one is as Julumarchaw (male). The five holes are drilled on the bigger piece of flute or Julumar (female) with a heated sharp iron. One hole is also made at one end of Julumarchaw (male) flute with a knife. The blowing holes are made at the end of each flute. After completion of all making process, those two flutes are tied with the strings. Keeping the double flute in the mouth, it is blown making sound by maneuvering the strength of the tongue and tuning with the fingers at the holes. Each flute can be blown separately. Julumar flute has to be blown by opening and closing the holes with the rest fingers after pressing the thumbhole with the thumb. But the traditional melodies can be blown with these flutes.\n-1 inches of length\n-2.5 inches of circumference for Julumar flute\n-1 inch circumference for Julumarchaw flute\n-4.5 inches from the mouth-hole to the first finger hole\n-4.5 inches from the mouth-hole to the thumbhole\n-1 inch apart among each finger holes (1,2,3,4)\n-3 inches apart between finger hole (4 and 5)

Bamboo grows in the wild in hilly region is used to make this oboe. The bamboo stick is needed to be dried first. And then, holes are perforated on it with the use of drill. It has to change the sizes of drills depending on the sizes of oboes. The oboes are in three different sizes- big, medium and small. Each of them has a total of four perforated holes. A thumb hole is perforated on the lower side with the distance of an inch from the first finger hole. The four finger holes must be made with same distance. Reed made of dried straw is inserted on one end of oboe and young female buffalo's horn is put on another end. The horn and oboe are decorated with manau traditional designs. The player must blow the reed made of straw to play this oboe by opening and closing the finger holes. Dumba is played in Manau festival, housewarming ceremony, honoring ceremony, Htaungkar Dance festival and funeral rite. There are designated melodies for different occasions.\n-2 feet 6 inches in length\n-2.5 inches in length if dried straw reed\n-1.5 inches in length of oboe\n-10 inches in length of buffalo horn\n-9 inches in circumference of horn

The Kaiui—also known as fui or be’u in different regions—is a traditional bamboo flute of Timor-Leste, cherished for its gentle, evocative sound that once echoed across rice fields, hilltops, and quiet village evenings. Long associated with solitude, emotional expression, and storytelling, the Kaiui is more than just a musical instrument—it is a vessel of memory and connection.\n\nTraditionally crafted from au-fafulu, a specific type of bamboo, the Kaiui features seven tone holes and is often about the length of a forearm. A key part of its design is the use of a corn cob or similar material to block part of the internal chamber, modifying the flow of air and shaping the distinctive tone. The player blows across the top opening while controlling the pitch with their fingers, producing melodies that are haunting, meditative, and subtly expressive.\n\nFor generations, the Kaiui was used by boys tending livestock in the fields, especially in the early mornings or during midday rest. It was played to pass the time, soothe animals, or simply to ease loneliness. Others used it to express feelings of longing—especially in matters of love, separation, or remembrance. In many communities, the flute is considered a deeply personal instrument, capable of giving voice to emotions that are otherwise difficult to speak.\n\nThe art of playing Kaiui is learned informally, typically by observing and mimicking older siblings, parents, or elders. There is no standard notation; the music lives through imitation, memory, and improvisation. Songs vary from region to region and even from player to player, with some tunes tied to seasonal rhythms or traditional events like sau-batar (harvest ceremonies) or rites of passage.\n\nThe Kaiui also plays a role in certain rituals and ceremonies, where its sound is believed to create a space of calm, welcome ancestral spirits, or accompany reflective moments. Its simple construction and natural materials reflect a worldview grounded in harmony with the environment—a flute made entirely from what the land provides, played under the open sky.\n\nToday, however, the practice of making and playing the Kaiui is increasingly rare. As younger generations turn to electronic music and imported instruments, the quiet music of the bamboo flute is fading from everyday life. In some communities, it survives primarily as a cultural demonstration during festivals or heritage programs.\n\nEfforts to preserve the Kaiui are now underway through workshops, school projects, and intergenerational exchanges. In these spaces, the flute is not only played but celebrated—as a living symbol of Timor-Leste’s musical heritage and a gentle reminder of how sound, memory, and identity are woven together in the simplest of forms.

"There are over 120 different types of knucklebone games are played in Mongolia, and the “knucklebone shooting” is the most common spread one among the general public. The Knucklebone shooting is a traditional game that contains the traditional custom and culture in complex way. Shooting tablets are flicked towards 30 pieces of ''Khasaa'', a target laid on a zurkhai (wooden surface) in a given order depending on the current game, at a distance of 9 elbows (4.72meters). It is a team game that each team competes by shooting to knock down more of the khasaa than the other. During tournaments, shooters communicate not in words, but by singing ''Knucklebone Shooting'' melodies and tunes such as ''Hail you, friend',' ''Hit the target,'' ''Hail the board'' that sound more or less like ''Long Songs''.

The ancestors came to settle at farms, building bamboo shacks as their crops thrived. They noticed a pleasant sound when the air blew into the hole of the bamboo. Then, they made a flute to produce that sound. As they found out that the sound of one-hole flute frightened the parrots which destroyed the crops, they expanded the holes to six. After cutting Marfule bamboo in desired measure, it's bored the holes with a heated sharp iron including six finger holes and one mouth-hole. A cloth or paper stopper is put into the flute. Blow at the mouth-hole maneuvering the finger holes with the fingers. The traditional and other melodies can be blown with it.\n-1 feet 2 inches in length\n-1.5 inches in circumference\n-4.5 inches in length from from the end of the flute to the mouth-hole\n-4 inches from the mouth-hole to the first hole of the fingerboard

Ca trù is a complex form of sung poetry found in the north of Viet Nam using lyrics written in traditional Vietnamese poetic forms. Ca trù groups comprise three performers: a female singer who uses breathing techniques and vibrato to create unique ornamented sounds, while playing the clappers or striking a wooden box, and two instrumentalists who produce the deep tone of a three-stringed lute and the strong sounds of a praise drum. Some Ca trù performances also include dance. The varied forms of Ca trù fulfill different social purposes, including worship singing, singing for entertainment, singing in royal palaces and competitive singing. Ca trù has fifty-six different musical forms or melodies, each of which is called thể cách. Folk artists transmit the music and poems that comprise Ca trù pieces by oral and technical transmission, formerly, within their family line, but now to any who wish to learn. Ongoing wars and insufficient awareness caused Ca trù to fall into disuse during the twentieth century. Although the artists have made great efforts to transmit the old repertoire to younger generations, Ca trù is still under threat of being lost due to the diminishing number and age of practitioners.

Once, there was no instrument to play for Rawan ethinicity. One bored a hole on human bone and blown. After that they found that it produced scale so they started using to play .Later it is made bamboo. They use to play it happily when their crops ripe. It is played for Rawan ethinicities festivals. Awai bamboo is cut and the middles potion is bored with knife. Both dried bamboo and fresh bamboo can be used. Air from the lung has to be blown by force and hole has to be pressed with thumb to be made opening and closing to produce tuning. It can be blown all kinds of melodies.\n-2 feet 0.5 inches in Length\n-11.5 inches in Length of air hole\n-2.5 inches in Girth

Nepal's Hereditary Musician Castes_Malsiri Raga in Panchai Baaja\n\nPerformers: Dhan Bahadur Nepali and friends\nDate of Recording: 1998\nCaste: Damai\nCollector: Ram Prasak Kadel\n\n“Maalashree Raga” is a special raga that is performed during Dashain to please different deities associated with the festival. The musical performance is usually carried out in popular temples and historical palaces by ethnic music groups such as Damai and Gandharva in their own traditional ways. Here, a popular Panchai Baja group of Nepal performs the raga in the premises of the Shiva temple Tripureshowr. This video shows Damai musicians playing various melodies on panchai baajaa. They are very skilled at switching seamlessly from one melody to the other.\nInstruments: panchai baajaa

At about 800 BC, one leader of Lashi/Lachik people, WoGyant went to Baijing for the further studies. When he returned to home after completion of his studies, Chinese king gave him a present of Yoke Myan Sai Tant Khaik (Single string Guitar) to him. From that time on, it becomes a national musical instrument of Lashi/Lachik national race.\nThe guitar frame is made of Yamanay wood in the shape of hornbill bird. The jute string was used as the string in the past. But now it's replaced with a number one guitar string. The multiple melodies can be played with it adjusting the tuner at the gesture of crossbow shooting.\n-1 feet 11 inches in length\n-10.5 inches in length of the soundboard\n-7 inches in breadth of soundboard\n-2.5 inches in height of soundboard\n-1 feet 5 inches in length of string\n-13 inches in length of fingerboard