Master Nurak Abdrakhmanov (1947-2014) remained in the memory of modern Kyrgyz as a great composer, performer, and master of making the instrument. He began searching for his komuz teaching system back in the Soviet period when he worked as a music teacher in Ak-Talaa Village in the Naryn region. He was not satisfied with the formal education programs used in the schools. Master Nurak learned early on that that the European twelve-note system did not cover the musical subtleties and possibilities of komuz, saying that the system reduces what is possible with komuz in thirty ways. Master Nurak believed that learning komuz in a traditional and cultural way helps with learning how to play komuz more quickly and easily.

Main Puteri (the play of the spirits) is a ritualistic healing ceremony in which Tok Puteri—a Malay Shaman serves as an intermediary between the inhabitants of the real and the nether worlds. In this ceremony, the puteri (spirits) are able tone act a play to treat the patients who usually need to revitalise their psychic energy (angin) and spirit (semangat). Many Kelantanese believe that illnesses purportedly due to ghost, evil spirits or witchcraft are the ones that are most susceptible to this ceremony. Patient of these illness commonly lack soul substance and are manifested by their state of depression and general withdrawal. Auditory hallucinations are taken to be evidence of ghost possession.\nThis ceremony employs the performance elements of traditional musical ensembles, dance movements and dramatic dialogue during the process of healing. The musical ensemble resembles those of a Mak Yong musical ensemble: rebab, a pair of gendang, and a pair of gongs. Additional instruments such as serunai, gedombak, geduk, canang from the Wayang Kulit performance are also used in some ceremonies. These musicians play to accompany the chanting, singing and the movements of the Tok Minduk and Tok Puteri. Tok Minduk—nwho can also be the Rebab player—is Tok Puteri’s partner and sounding board tone gage and guide Tok Puteri to the relevant spirits.

Main Puteri (the play of the spirits) is a ritualistic healing ceremony in which Tok Puteri—a Malay Shaman serves as an intermediary between the inhabitants of the real and the nether worlds. In this ceremony, the puteri (spirits) are able tone act a play to treat the patients who usually need to revitalise their psychic energy (angin) and spirit (semangat). Many Kelantanese believe that illnesses purportedly due to ghost, evil spirits or witchcraft are the ones that are most susceptible to this ceremony. Patient of these illness commonly lack soul substance and are manifested by their state of depression and general withdrawal. Auditory hallucinations are taken to be evidence of ghost possession.\nThis ceremony employs the performance elements of traditional musical ensembles, dance movements and dramatic dialogue during the process of healing. The musical ensemble resembles those of a Mak Yong musical ensemble: rebab, a pair of gendang, and a pair of gongs. Additional instruments such as serunai, gedombak, geduk, canang from the Wayang Kulit performance are also used in some ceremonies. These musicians play to accompany the chanting, singing and the movements of the Tok Minduk and Tok Puteri. Tok Minduk—nwho can also be the Rebab player—is Tok Puteri’s partner and sounding board tone gage and guide Tok Puteri to the relevant spirits.

The dombra, a two-stringed plucked instrument, has played an integral part of Kazakh culture since ancient times. By performing kuy (a short solo composition) on the dombra, the nomad expressed his feelings. The only harmonic material for dombra that fully meets the traditions and rules is the tree. The tradition of hollowing out the instrument from a single piece of wood relates to mythological ideas about the sacredness and inviolability of the tree. The entire process of manufacturing dombra in ancient times took four years, and each instrument was custom made based on the player’s physique, voice, repertoire, gender, and was endowed with a special spiritual content.

The gendang is a traditional drum from Sarawak, Malaysia. This video demonstrates the challenges stemming from the discrepancy between the reality of a decreasing number of gendang-makers and the necessity of maintaining the tradi\u0002tion through the lives of two gendang-makers, Umar Tomik and his younger brother Safuan Tomik. \n\nIt also encompasses the methods of producing gendang, the types of wood used, the difference between gendang and drums from other regions of Malaysia, the method of playing the drum, types of drum performances, and stories behind the design of the drum.

This is one of the most lyrical songs with the lyrics sending moving messages. Its lyrics are often poetic sentences with seven or eight words. They are sometimes the six-eight-word verses with the plaintive content. Its tune is clear and calm.

The brown bird settles itself on the brown tree branch\nSo why won't you settle for a nearby husband and yet chose a faraway one\nOne day as (your) parents are old and weak\nThen who will hand us (parents) the chopsticks to eat, the tea to drink\n\nLullabies (Ru) within the family environment has a hypnotising function, where it's used to ease the child into sleeping. Southern Vietnam (Nam bộ) lullabies was formed and sustained through the many layers of Nam bộ culture. The environmental ecosystem and culture have given it a distinctive form that is expressed through lyrics, melodies, and rhytms.