Representative List of the Intangible Cultural Heritage of Humanity, 2008\nMaqom is a complicated musical composition of many parts and governed by certain rules that developed over centuries. Uzbek maqoms have two parts: mushkilot (instrumental part) and nasr (song part).\n\nMaqom development in Uzbekistan is associated with state centers—Bukhara in Bukhara Emirates, Khiva in Khorezm Khanet, and Kokand in Kokand Khanet.\n\nThese centers resulted in the formation of three maqom types, “Shashmaqom” (Bukhara), which includes six maqoms and “Khorezm maqoms” (Khorezm), which includes six-and-a-half maqoms. In Ferghana-Tashkent (Kokand), maqom cycles that contain four maqoms were edited by professional musicians of the palace.\n\nIn this film, skilled musicians and students perform all three maqom cycles. Recording was conducted in Tashkent, Ferghana, Khorezm, and Bukhara and was enriched with interviews from maqom researchers and masters.

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.

Ta-Lut flute is made of bamboo. The holes of this flute are to be perforated at distances according to the size of flute. There are a total of 10 perforated holes including 7 finger holes, a thumb-hole, a membrane hole and a vent hole. In perforation process, mark the three divisions on the bamboo stick with the same distance. The lowest finger holes must be perforated at the starting point of second division, and the six finger holes at the same gap according to diameter of bamboo stick. The thumb-hole is perforated on the lower side of the flute at the point half- way between the upper sixth and seventh hole. The vent hole is perforated between the topmost finger hole and the tube end. The membrane hole is between the vent hole and the seventh hole. This wind instrument consists of a hollow tube and has to be played by blowing through a open hole at one end. Its melody includes vibration frequency according to Mon traditional songs.\n-1 feet 5 inches in length\n-1.5 inches in diameter

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

Pyi Htaung flute was Kachin traditional instrument. This flute has been used for about 1000 years ago. Bamboo is used to make the joint of the Jeinpaw Pyi Htaung. Bamboo joint that grows from hill-side cultivation is chopped and dried. It is perforated by using drill. There are a total of 8 perforated holes including 6 finger holes, two vent holes for enunciation. The flute with no reed is called flute and the flute with reed is called whirling flute. It has to be blown from air holes and the finger holes are made for opening and closing to produce traditional melody. Pyi Htaung flute has to be played together with oboe, drum, gong and cymbal. It is played for all kinds of Manao house-warming ceremony, grating party and honorable ceremony.\nThe size of Instrument is below.\n-1 feet 7 inches in length\n-4 inches in Length tip bamboo joint from air hole\n-5.5 inches in Length air hole from finger hole\n-1 feet in Length of tip flute from vent hole\n-2.5 feet in gridth

The words of propitious omens are the shorter forms of benedictions used for expressing the best regards and happiness in people’s daily routine works and practices. The words of propitious omens are regarded as respect for others and widely used for greeting purposes. The words of omens are predicting the good things that can be happened in the future, and this makes the omens similar to benedictions but its function and use is different. The words of omens do not have different parts, as shorter as possible, words or poems which does not have any melody. The words of omens associated with any actions are always said same and its meaning has a connection to that actions. For instance: if somebody is writing a script, the omen word is said as “May the brush would sharpest”, if somebody is churning the Airag, the omen is said as, “More butter comes to the Airag” and so on.

Wood has to made hollow sound body that is covered with animals’ skin. The strings of violin was made of women’s hair in the past time. Nowadays, guitar string No (1) is used as violin’s string. There are two strings in the violin .Bow is made of Zee- Shwee plant that grows near iceberg. Its branch has made to be putrid and the left fiber is made as bow. It is bored a hole bottom it to produce sound. It is played according to banjo song that hears from ear. It can play traditional melody. Bow is put between the strings and strikes one beat to the upperand then to the lower string.\n-2 feet 3 inches in Length\n-5 feet in Length of sound body\n-7 feet in High of sound body\n-1 feet 9 inches in Length of arm\n-1 feet 3 inches in Girth of sound body\n-2 feet 8 inches in Length of bow

Benediction is a powerful expression of the miraculous capacity of words. It is one of the genres of Mongolian oral poetry that uses melodies. Benedictions propitiate people’s future happiness and well-being through skillfully composed and recited poems. It is unique in a way that minstrels sing the benediction completely from memory, and also by adding their own versions of words or improvising totally new verses to fit particular situations or events. By the invitation of people, a person who knows the order of feast and ceremonies well and mastered in the benediction and its melody says the benediction with use of the holly silk scarf, milk in the silver bowl, and Airag in bowl. The benediction is oral poetry which contains a beginning, main part and ending part.

"\nMelodies associated with herding of animals, coaxing rituals for baby animals and hunting are the common representatives of this element. Such intonations and melodies derived from the nomadic people’s mode of life are classified as melodies for animals such as gurii gurii for horses, oov oov for cows, toor toor for camels, and melodies for coaxing animals, melodies for milking the mother animals such as toig toigoo for coaxing baby sheep, for baby goat as cheeg cheeg, and for baby camel saying melody khoos khoos. There are also other melodies for hunting (melodies to call games, melodies to amuse games), melodies for uukhai or cheering up (uukhai for archery, uukhai for anklebone shooting, melodies for wrestler or race-horse title recitations, giingoo or zeengoo melodies of the horse-jockeys) are used for daily life of Mongolians. This the specific rite of psychological connection between herder and animals. \n"\n

A good quality of bamboo was cut off during the month when bamboos were chopped and then they have to be smoked or dried or fumed or desiccated. The main part of bamboo is peeled to get inner layer and outer layer as a bamboo_chip or a bamboo fiber. Then, a bamboo chip or a bamboo fiber is made to be flawless and smooth. The small blocks of bamboo are placed under the bamboo chips or bamboo fibers to produce melody. The inner layer is taken to produce original voice. There are seven bamboo chips or bamboo fibers which are represented as seven gongs. It comprises 4 notes of grain of bamboo and 3 notes of inner parts of bamboo. According to the song, It is played together with the instrument of dried gourd.\n-1 feet 8 inches in Length\n-10 inches in width

Good quality of wood is chopped and smoothened. The top and body of the wood is curved. The top of wood has to be bored five holes that are called Nat ThaMee holes (hole in the body of harp). The holes of the body are plugged with wood flat, zinc flat and bamboo flat. It is better if it is covered with leather. Three strings are put on it. The plectrum is made of plastic or bamboo. According to the melody, three strings of the arm of the lute have to be pressed with the right hand and the left hand holds the plectrum and the plays the strings to produce the song. In the past, when young unmarried boys wanted to fall in love with a young unmarried girls but they didn’t dare to say anything to her, they expressed their feeling as song and rhetorical compositions or prosodies by playing Karean lute.Nowadays,it is played together with the other instruments. It has to be played at Karean traditional festivals, Karean plays and Union day ceremony.\n-35 inches in length\n-11 inches in the sound body\n-20 inches in the arm\n-5 inches in the plectrum